Sourceworks of Ceremonial Magic

Volume 11
"In its influence, dissemination, length,
and complexity, the Ars Notoria is the most
important surviving treatise of ritual magic."
- Sophie Page.
The Ars Notoria, or 'Notary Art,' is a
Mediaeval grimoire designed to assist monks
(or anyone) to learn whole subjects in as short a
time as a month, through the intervention of
angels. It has procedures for vastly improving
memory and understanding, such that a single
reading of a complex text will enable the
aspirant to absorb and understood it. The
procedure consisted of short prayers (to set the
scene) followed by orations or invocations
made up of lists of the secret names of angels
(some say demons) who will assist the aspirant
in these feats of memory. These are read or
chanted whilst the aspirant looks at a "nota,” a
complex design which encapsulates the
essence of the desired subject. These nota are
unlike the sigils of any other grimoire, and were
drawn with exquisite attention to detail.
The oldest manuscript of the Ars Notoria
dates from 1225, and is printed here in full.
Despite the passage of almost 800 years, the Ars
Notoria has never been published before with
both its text and all its notae (plural of nota)
complete. This edition has four other
full-colour complete sets of notae from the three
following centuries. The commentary explains
where the Ars Notoria fits into the history of
magic (it was not part of the Lemegetori), charts
the development of the notae, and the lives of
the magicians who were associated with it.
The Ars Notoria is a mediaeval grimoire, or
magician's manual, which was widely
distributed and very popular in the 13th-16th
centuries. Although virtually unknown today,
it is still very relevant because it consists of
techniques still usable and useful today.
Solomon reputedly received the book from
the hand of the angel Pamphilius, and it was
later translated by Apollonius of Tyana who
called it the Golden Flowers.

161 Figures, most in full colour.

ISBN: 978-1-912212-03-3
www.GoldenHoard.com
US$96.00/GBP 64.00
Ars Notoria, sive Flores Aurei
 SWCM - Sourceworks of Ceremonial Magic Series

In the same Series:

Volume I - The Practical Angel Magic of John Dee's Enochian Tables -
ISBN 978-0-9547639-0-9
Volume II - The Keys to the Gateway of Magic: Summoning the
Solomonic Archangels & Demonic Princes - ISBN 978-0-
9547639-1-6
Volume III - The Goetia of Dr Rudd: The Angels & Demons of Liber
Malorum Spirituum sen Goetia - ISBN 978-0-9547639-2-3
Volume IV - The Veritable Key of Solomon- ISBN 978-0-7378-1453-0
(cloth) - ISBN 978-0-9547639-8-5 (limited leather)
Volume V - The Grimoire of Saint Cyprian: Clavis Inferni - ISBN 978-0-
9557387-1-5 (cloth) - ISBN 978-0-9557387-4-6 (limited leather)
Volume VI - Sepher Raziel: Liber Salomonis - ISBN 978-0-9557387-3-9
(cloth) - ISBN 978-0-9557387-5-3 (limited leather)
Volume VII - Liber Lunee & Sepher ha-Levanah - ISBN 978-0-9557387-2-1
(cloth) - ISBN 978-0-9557387-3-8 (limited leather)
Volume VIII - The Magical Treatise of Solomon, or Hygromanteia - ISBN
978-0-9568285-0-7 (cloth) - ISBN 978-0-9568285-1-4 (limited
leather)
Volume IX - A Cunning Man's Grimoire: The Secret of Secrets - ISBN
978-0-9932042-7-2 (cloth) - ISBN 978-0-9932042-8-9 (limited
leather)
Volume X - Clavis or Key to the Mysteries of Magic - Ebenezer Sibley
- ISBN 978-1912212-08-8 (cloth) - ISBN 978-1912212-09-5
(limited leather)
Volume XI - Ars Notoria or the Golden Flowers of Apollonius of Tyana
- ISBN 978-1912212-03-3 (cloth) - ISBN 978-1912212-04-0
(limited leather)

For further details of forthcoming volumes in this series edited from

classic magical manuscripts see www.GoldenHoard.com

2
 Ars Notoria

Books on the Western Esoteric Tradition by Stephen Skinner

Agrippa's Fourth Book of Occult Philosophy (edited) - Askin, Ibis
Aleister Crowley's Astrology (edited) - Spearman, Ibis
Ars Notoria (with Daniel Clark) - Golden Hoard, Llewellyn
Clavis or Key to the Mysteries of Magic (with Daniel Clark) - Golden Hoard, Llewellyn
Complete Magician's Tables - Golden Hoard, Llewellyn
Cunning Man's Grimoire (with David Rankine) - Golden Hoard
Dr John Dee's Spiritual Diaries: the fully revised and corrected edition of A True &
Faithful Relation of what passed.. .between Dr John Dee... - Golden Hoard
Geomancy in Theory & Practice - Golden Hoard, Llewellyn
Goetia of Dr Rudd: Liber Malorum Spirituum (with David Rankine) - Golden Hoard
Grimoire of Saint Cyprian: Clavis Inferni (with David Rankine) - Golden Hoard
Key to the Latin of Dr John Dee's Spiritual Diaries - Golden Hoard, Llewellyn
Keys to the Gateway of Magic (with David Rankine) - Golden Hoard
Magical Diaries of Aleister Crowley (edited) - Spearman, RedWheel Weiser
Michael Psellus 'On the Operation ofDaimones' (edited) - Golden Hoard
Millennium Prophecies: Apocalypse 2000 - Carlton
Nostradamus (with Francis King) - Carlton
Oracle of Geomancy - Warner Destiny, Prism
Practical Angel Magic of Dr. Dee (with David Rankine) - Golden Hoard
Sacred Geometry - Gaia, Hamlyn, Sterling
Search for Abraxas (with Nevill Drury) - Spearman, Salamander, Golden Hoard
Sepher Raziel: Liber Salomonis (with Don Karr) - Golden Hoard, Llewellyn
Splendor Solis (with Rafal Prinke, Joscelyn Godwin & G Hedesan) - Watkins
Techniques of Graeco-Egyptian Magic - Golden Hoard, Llewellyn
Techniques of High Magic (with Francis King) - C. W. Daniels, Golden Hoard
Techniques of Solomonic Magic - Golden Hoard, Llewellyn
Terrestrial Astrology: Divination by Geomancy - Routledge
Veritable Key of Solomon (with David Rankine) - Golden Hoard, Llewellyn
Books on Feng Shui by Stephen Skinner
Advanced Flying Star Feng Shui - Golden Hoard
Feng Shui Before & After - Haldane Mason, Tuttle
Feng Shui History: the Story of Classical Feng Shui in China & the West - Golden Hoard
Feng Shui Style - Periplus
Feng Shui the Traditional Oriental Way - Haldane Mason, Parragon
Feng Shui: the Living Earth Manual - Tuttle
Flying Star Feng Shui - Tuttle
Guide to the Feng Shui Compass - Golden Hoard
K.I.S.S. Guide to Feng Shui (Keep it Simple Series) - Penguin, DK
Key San He Feng Shui Formulae - Golden Hoard
Living Earth Manual of Feng Shui - RKP, Penguin, Arkana
Mountain Dragon - Golden Hoard
Original Eight Mansion Formula - Golden Hoard
Practical Makeovers Using Feng Shui - Haldane Mason, Tuttle
Water Dragon - Golden Hoard

3
 Figure 01: King Solomon receiving a book of Wisdom from an angel.1

"In its influence, dissemination, length, and complexity...

the Ars notoria is the most important surviving treatise of ritual magic."1
2

"It was a process by which the magician could instantly gain knowledge
or memory of all the arts and science."3

1 BnF, Lat. 7153, f. -.

2 Sophie Page, Magic in the Cloister, 2013, p. 115.
3 Robert Turner, Elizabethan Magic, 1989, p. 139.

4
 Ars Notoria
The Grimoire of Rapid Learning by Magic

with the Golden Flowers of Apollonius ofTyana

Vol. I - Version A

Translated by Robert Turner

Edited and Introduced by Dr Stephen Skinner
& Daniel Clark

Golden Hoard Press

2019
Published by Golden Hoard Press Pte Ltd
Robinson Road PO Box 1073
Singapore 902123
Singapore
www.GoldenHoard.com

First Edition

© August 2019 Stephen Skinner

www.SSkinner.com

All rights reserved. No part of this publication may be reproduced or utilized in

any form or by any means, electronic or mechanical, including printing,
photocopying, uploading to the web, recording, or by any information storage
and retrieval system, or used in another book, without specific written
permission from the publisher, except for short fully credited extracts or quotes
used for scholastic or review purposes.

ISBN: 978-0-73876452-8 - Llewellyn edition

ISBN: 978-1-91221203-3 - cloth edition

ISBN: 978-1-91221204-0 - hand bound leather edition

limited to 150 copies, of which this is number ....................

Printed in Malaysia

6
 Contents
List of Figures 9
Acknowledgements 11
1. Background
Trivium and Quadrivium 13
Main Schools of Western Magic 15
Ars Notoria and the Lemegeton 16
Origin of the Ars Notoria 18
Greek Origins 21
Critics and Famous Owners 22
Possible Authors 25
John of Morigny and the Liber Visionum TJ
Ars Notoria and the Liber Juratus 29
Distribution of the Manuscripts of the Ars Notoria 30
Printed Editions 31
Turner's English Translation 32
Reorganisation of the Text 33
Versions of the text of Ars Notoria 34
Derivative Works 35
The Figure of Memory 36
2. Magicians, Physicians, Scribes, Collectors, and a Translator
Apollonius of Tyana (c. 15 - c. 100) 39
Euclid of Thebes, father of Honorius 44
Hartmann Schedel (1440 - 1514) 45
Albert V, Duke of Bavaria (1528-1579) 46
Simon Forman (1552 - 1611) 49
George Wrighte (1677 - 1724) 59
Robert Turner (1626 - c. 1666) 61
Sir Hans Sloane (1660 - 1724) 64
3. The Main Manuscripts 71
4. The Notae 87
5. Compendium and Distribution of the Notae 93
6. Method of Use and Practical Considerations 117

7
 Ars Notoria

Ars Notoria
7. Full Manuscript of the earliest Ars Notoria 1225 127
8. English Translation of the Ars Notoria 165
170
172
194
201
206
215
4. Supplementary Gloss & Prayers Sections S147-S176 222
5. On the Figure of Memory Sections S177-S180 233
9. Complete sets of notae from four manuscripts of different periods 239
MS BL Sloane 1712 c. 1250 240
MS BSB CLM 276 c. 1350 259
MS BnF Lat. 9336 14th century 283
MS NLI Yar. Var. 34 1600 307

10. Latin text of the Ars Notoria in339

Agrippa's Opera

Appendix 0 - The Notae in Numerical ID Order 387

Appendix 1 - Table of Subjects 395
Appendix 2 - Structure of the Prayers, Orations & Notae 396
Appendix 3 - Prayers 'borrowed' by Liber Juratus from Ars Notoria 405
Appendix 4 - Text of the verba ignota Orations 407
Appendix 5 - Known works by Robert Turner of Holshott 415
Appendix 6 - The Ecclesiastical Hours 419
Bibliography 420
Index 432

8
List of Figures

01: King Solomon receiving a book of Wisdom from an angel 4

02: Notae in the form of a column resting on an inverted head 20
03: Byzantine column supported by the inverted head of Medusa 20
04: Title page of Agrippa 's De Occulta Philosophia, 1551 32
05: The Figure of Memory as it appears in Agrippa's Opera Omnia 37
06: The Figure of Memory in its complete form 38
07: A stone 'talisman' invoking the power of seven archangels 41
08: Inscription commemorating Apollonius' life and qualities 43
09: Woodcut of Erfurt in Hartmann Schedel's Nuremberg Chronicles 45
10: Albert V, Duke of Bavaria 46
11: Bookplate of the Dukes of Bavaria dated 1618 in CLM 276 47
12: Simon Forman, astrologer and physician 49
13: The frontispiece of John Melton's Astrologaster, 1620 51
14: Forman's Liber de Arte Memoratiua siue Notoria 54
15: Scandalous aristocrats: Francis Howard and her lovers 55
16: The armorial bookplate of George Wrighte 59
17: Gothurst (Gayhurst) House, late 16th century 60
18: Robert Turner as he appears in his book Botanologia, 1664 63
19: Portrait of Sir Hans Sloane 64
20: Milk Chocolate: Sir Hans Sloane teams up with Cadburys 66
21: Montagu House, sold to the British Museum in 1759 68
22: A variant form of the Second nota of Rhetoric 90
23: Compendium and manuscript Distribution of the Notae 94
24: Compendium of Notae arranged by subject 98
25: Historical development of the Notae in key manuscripts 102
26: Correct dates on which to inspect the Notae 125

9
 Ars Notoria

27-62: MS Yale Mellon 1 128-163

63: Title page of Robert Turner's 1657 Ars Notoria translation 166
64: The Figure of Memory (in Turner) 223
65-81: MS BL Sloane 1712 241-257
82-103: MS BSB CLM 276 260-281
104-125: MS BnF Lat. 9336 284-305
126-155: MS NLI Yah. Var. 34 308-337
156: Figure of Memory (Latin) 384
157: The Notae in numeric ID order 393
158: List of the Subjects 395
159: Table of the Sections, Prayers, Orations & Notae 398
160: Prayers borrowed by Liber Juratus from Ars Notoria 406
161: Books written and translated by Robert Turner 418
162: List of the main Ars Notoria Manuscripts 426

10
Acknowledgements

For reproduction of Mellon 1, Apollonius, Ars Notoria Sive Flores Aurei,

we are grateful to the Beinecke Rare Book and Manuscript Library, Yale
University. For permission to reproduce the notae folios from Sloane
1712 we are indebted to the British Library Board. The complete set of
notae from BnF Lat. 9336 are reproduced with the permission of the
Bibliotheque nationale de France. Our thanks to the Bayerische
Staatsbibliothek, Munich for their permission to reproduce the Ars
Notoria notae in CLM 276. We especially thank the National Library of
Israel, Jerusalem, for supplying us with a digital copy and allowing us to
reproduce the notae in Yar. Var. 34.
The Frontispiece is from BnF, Lat. 7153 - Liber cujus is est titulus
Sacratissima Ars Notoria, courtesy of the Bibliotheque nationale de France.
The endpapers are courtesy of the Prado, Madrid © Photographic Archive
Museo Nacional del Prado. The painting is by Giovanni dal Ponte (1376-
1437). Its significance is that it shows Astronomy at the centre of the
Liberal Arts, which for some may seem a strange concept. However the
Ars Notoria also acknowledges the centrality of Astronomy:
For the Notory Art hath a Book in Astronomy, whereof it is the Beginning
and Mistris; and the Vertue thereof is such, that all Arts are taught and
derived from her.1

This endpaper illustration of The Seven Liberal Arts was painted on a

chest c. 1435. It depicts the seven Liberal Arts, accompanied by figures of
the most important masters of each subject, each being crowned with a
laurel wreath by an angel. In many ways this painting encapsulates the
whole world of the Ars Notoria.
Top row: Astronomy is seated in the middle, carrying the Heavenly
Sphere, with Ptolemy (100-c. 170 CE), the most famous astronomer and
geographer of the ancient world, sitting at his feet.
The quadrivium is represented by this figure and all figures to the right.
Immediately to the right, Geometry holds a set-square and a compass,
walking hand-in-hand with the most famous geometer Euclid (fl. 300
BCE). He is followed by Arithmetic, who carries a counting tablet and
walks with Pythagoras (6th century BCE). At the far right end, Music

1 Section 20b.

11
 Ars Notoria

carries a small organ, followed by Tubal-cain, the blacksmith credited

with inventing it, carrying hammers and a portable anvil strapped to his
waist.
The trivium is represented by the left hand side of the picture. To the left
of Astronomy, Rhetoric carries a scroll and is accompanied by the orator
Cicero (106 BCE-43 CE), who carries one of his books. Then comes
Dialectics, who carries an olive branch (a symbol of accord) and a
scorpion, whose pincers represent the opposing positions of dialectical
argument. He is accompanied by the philosopher Aristotle (384-322
BCE). At the left end is Grammar, with its sub-disciplines (the two
children) accompanied by Aelius Donatus (4th century CE) who wrote
the classic Mediaeval Grammar textbook Ars Grammatica.
The front cover features the Fifth Nota of Theology (the 'Ineffable') from
BL, Sloane 1712, f. 22, © The British Library Board. The 5th nota of
Theology is known as the 'Ineffable/ or unknowable, in other words a
nota that can never be understood. It displays four sets of symbols, each
set containing 4 elements: four plants bearing 4 birds; (two sets) of 4
swords; 4 candles; and 4 serpents.1 This image supposedly reflects a
passage from the Vulgate Book of Kings.
Finally I would like to thank Matthias Castle for brief but enlightening
conversations about the Ars Notoria, with the plan that these will evolve
into Volume II of the Ars Notoria which will include his new complete
translation that also takes into account Version B and the Opus Operum,
with more detailed emphasis on using the system practically.

1 The caption on the same nota in CLM 276, f. 19 refers to it as the "fourfold
nota," not "the fourth nota" as one writer mistakenly surmised.

12
1. Background
According to its Prologue, this book promises to teach (by angelic help)
and very rapidly,1 the arts of arithmetic, astrology, astronomy, cyromancy
(chiromancy), dialectic (logic), geomancy, geometry, geonogia,2 grammar,
Greek, Hebrew, hydromancy (hygromanteia), law, medicine, memory,
music, neonogia, 3 nigromancie, philosophy, pyromancy, rhetoric
(eloquence), theology, the mechanical arts, and the exceptive arts.4 In
other words almost the entire university curriculum as it was conceived
of in the 13th century, of the trivium and quadrivium, plus a selection of
other useful subjects like geomancy, magic, and memory.

Trivium & Quadrivium

The subjects offered by the Ars Notoria are drawn from the Mediaeval
curriculum which is usually divided as follows.
The Trivium covers subjects relating to logical thinking and language:
Grammar (including the learning of Latin itself)
Dialectic or Logic (the ability to think logically and argue)
Rhetoric (the ability to speak convincingly and deliver arguments)
The Quadrivium includes four subjects based on number:
Arithmetic
Geometry
Music
Astronomy (including astrology)
Post-graduate subjects (as it were) included:
Medicine (Physic)
Theology
Law (but not included in the Ars Notoria)
Nigromancy (magic)

1 Kieckhefer, in Forbidden Rites, 1997, pp. 193-196, analyses one experimentum

which permits the mastery of the liberal arts in just thirty days.
2 Probably General Arts, from the Greek yeovoyia. These included memory arts.
3 New arts, from the Greek vEovoyia.
4 Arts outside of the approved university curriculum such as magic and
divination. These were sometimes deliberately confused with the mechanical
arts to avoid ecclesiastical condemnation.

13
 Ars Notoria

Although some of these subjects like logic, rhetoric and grammar are
mainly ignored today, the skill of being able to argue a topic logically and
both speak about it persuasively and write about it, are in fact very useful
skills in any period.
The Ars Notoria is not, as some people may think, The notorious art' but
is named after the magical diagrams, or notae which are a key part of its
method. The aim of the Ars Notoria was to use these notae to both
improve memory and to provide a scheme that would induce a rapid
understanding in the operator of a particular art or science. It is easy to
imagine eager students using this art as an aid to cramming or rapidly
absorbing the essence of a subject. In a time of few books, the ability to
understand the ground plan of a subject or memorise whole chunks of
material was highly prized and indeed a necessary skill of the scholar.
Knowledge was literally defined as how much you knew or could
remember.
Who in the modem world would not like their memory improved, or to
have the facility to understand and remember material just read once, or be
able to absorb complex subjects with rapidity and ease? These aims of the
Ars Notoria are as fresh and as relevant now as they were 800 years ago.
As Robert Turner explains:1
The Ars Notoria, the magical art of memory, flourished during the
Middle Ages, although its origins are attributed to Solomon and
Apollonius of Tyana. It is a process by which the magician could
instantly gain knowledge or memory of all the arts and sciences.
Each branch of knowledge or subject area was assigned a set of
magical seals and characters, known as notae. To set the process
into operation, the appropriate notae were contemplated whilst
reciting angelic names and magical orisons. However, it was
regarded as a diabolical form of magic, since the knowledge was
quickly acquired from 'demons' without honest study.

There were some questions about the morality of using angels rather
than the labour of honest study, but in practice most students would use
this art as an aid rather than an end in itself. If you like, it was the more
technically advanced equivalent of a prayer to help you pass exams.
Nowadays prayers are seen as freeform supplications and request lists,

1 The twentieth century Robert Turner in his book Elizabethan Magic (1989), p.
139, not his namesake who originally translated the Ars Notoria into English in
1657.

14
 Ars Notoria

but the Ars Notoria made a much more precise technology out of it. The
Ars Notoria had such procedures taped 800 years ago, but only for
worthy and studious objectives, not for the banal objectives of acquiring
cars, money, love and career, which are often the magical objectives of
the present century.
By about the seventeenth century, and certainly in the twentieth century,
knowledge was redefined as the ability to find specific information from
the huge range of available books. In the twenty-first century knowledge
may be redefined again as the art of using the net and Google most
effectively to find that same information. But in the Middle Ages, the
ability to memorise, absorb and organise material was paramount. It is
precisely for that purpose the Ars Notoria was devised. Its methods
promised the student that, with the ‘inspection’ of certain elaborate
diagrams (notae) accompanied by the correct prayers and orations
consisting of verba ignota, whole subjects could be rapidly absorbed.
The word notoria can refer to notes, or to the art of knowing, but in this
context, it refers specifically to the 'notes' or magical images used to
stimulate memory and speed up apprehension of these subjects.
Although Turner translates notae as 'notes' this is very misleading (given
the many modern meanings of that word - musical notes, student's
notes, jottings, shopping lists, etc.). So we have chosen to retain the Latin
terms nota (singular) and notae (plural) in our commentary. As these
manuscripts belong in the world of the clerical Middle Ages, they are all,
without exception, written in Latin.

Main Schools of Western Magic

Before we look at its contents in detail, it is necessary to understand
where this unique text fits (or doesn't fit) into the overall history of
magic as it has been practiced in Europe over the last two millennia. We
are not here discussing village magic, 'wort cunning' or witchcraft, but
'learned magic' which was practiced by those who could read and had
access to those manuals of magic called grimoires. 'Learned magic' in
Europe and around the Mediterranean littoral fell into basically two
varieties:
1. Astral or Image Magic is a method that comes from Arabic
roots. It was probably introduced to Europe with the translation of
the Picatrix first into Spanish and then in 1256 into Latin at the
court of King Alphonso X of Castile. This style of magic involves
detailed astrological calculation of 'elections' or times in which to

15
 Ars Notoria

consecrate specific talismans. It was not commonly thought to

involve the invocation/evocation of angels, demons or spirits, but
to operate within the bounds of the natural world working by
focussing the rays transmitted to Earth from various heavenly
bodies on to talismans.
2. Solomonic Magic involves the evocation and invocation of
angels, demons and spirits which are then bound by the magician
to perform certain magical acts for him. This style of magic comes
from Greek roots (not Hebrew as is sometimes thought) and
entered Europe from Egypt via Byzantium. With the fall of
Constantinople to the Turks in 1453, fleeing monks and scholars
brought Solomonic treatises, such as the Magical Treatise of Solomon
or Hygromanteia to Europe, where they were rapidly translated
into Latin and Italian under titles like the Key of Solomon.
The basic distinction between Astral magic and Solomonic magic needs
to be understood and preserved. However categorising the Ars Notoria
as one or the other is quite difficult for a number of reasons.
The Ars Notoria is often lumped in with Solomonic magic because of its
pseudepigraphical attribution to Solomon, and more recently the
happenstance that it was often considered the fifth part of a collection of
grimoires called the Lemegeton, with which its text was sometimes
bound. However, it does not have a Register of spirits nor does it have a
protective floor circle, nor a set of pre-consecrated tools, all of which are
key ingredients of Solomonic magic. On the other hand, apart from
Moon phase observation it does not have any of the astrological
calculations so characteristic of Astral or Image magic.

Ars Notoria and the Lemegeton

The usual rationale for the Ars Notoria being counted as 'Solomonic'
comes from the introduction to the Lemegeton which is found in several
manuscripts in which it is said that Solomon gained all his knowledge
by using the Ars Notoria:
The fifth part is a Booke of orations and prayers that wise Solomon
used upon the altar in the Temple [in Jerusalem] which is called
Artem Novam ['New Art' another name for the Ars Notoria]. The
which was revealed to Salomon by the holy angel of God called
Michael, and he also received many breef Notes [hence Notae]
written by the finger of God which was declared to him by the said
Angel, with Thunder claps, without which Notes Salomon had

16
 Ars Notoria

never obtained to his great knowledge, for by them in short time

he knew all arts and sciences both good and bad, which from these
Notes [the book] is called Ars Notoria.
In this Book is contained the whole art of Salomon although there be
many other Books that is said to be his yet none is to be compared
with this, for this containeth them all, although they be titled with
several other names, [such] as the Book Helisol which is the very
same as this last is, which [is] called Artem Novam & Ars Notoria, &C.1
The text of Ars Notoria was first printed in English (1657) at around the
same time that many of the manuscripts of the Lemegeton were being
written or copied. In fact, some manuscript versions of the Ars Notoria
were copied directly from the printed translation by Robert Turner,
rather than the other way around. This timing may have been
responsible for the 17th century inclusion of the Ars Notoria in the
Lemegeton.
However, the other constituents of the Lemegeton are all based on the
evocation of spirits/ demons, but the Ars Notoria is not an evocatory text
and therefore does not fit well in the context of the Lemegeton.
Secondarily, there is a very telling mention of the Lemegeton in the text of
the Ars Notoria itself:
Therefore it is called, The Notory Art, because in certain brief Notes,
it teacheth and comprehendeth the knowledge of all Arts: for so
Solomon also saith in his Treatise Lemegeton,2 that is, in his Treatise
of Spiritual and Secret Experiments.3
This passage clearly indicates that Turner knew that the Lemegeton was a
separate volume. We suspect that at some stage this mention in the
original Latin caused someone to assume the identity of the two.
We will therefore here consider it as a free-standing text entirely
separate from the Lemegeton, rather than suggesting that it is the fifth
part of that book. One of the strangest ideas that has cropped up recently
is that the Ars Notoria should be treated as some kind of prologue to the
four books of the Lemegeton. This is complete nonsense, and obviously
invented by someone who has no idea what it is, or how it works.

1 Sloane 3648, f. 1.
2 The Lemegeton appears with several different spellings in different manuscripts:
Lemogetan (Y), Lemogedan (P), and even Demegeton (L).
3 Turner, Ars Notoria, p. 18.

17
 Ars Notori a

Not only is the Ars Notoria not part of the Lemegeton, it is also not part of
mainstream Solomonic evocatory magic. There is no use in it of
consecrated tools like a circle, triangle, censor, sword or knife. There are
no obvious angel, demon, or spirit names (unless they are hidden in the
verba ignota).1 There are no obvious conjurations, merely prayers of a
fairly conventional kind, asking for increase of memory, etc, but not
ordering or binding any 'spiritual creature' to do anything.

Origin of the Ars Notoria

In the Jewish literature that circulated between the fifth and ninth centuries,
there are many tales of ancient rabbis conjuring an angel called Sar-Torah,
the 'Prince of the Torah.' This angel functioned like the angels of the Ars
Notoria, and may have even been a distant model upon which they were
based. Sar-Torah reputedly endowed the rabbis with the spectacular
memory skills necessary for memorising vast swathes of the Torah. The
angel then taught the rabbis a formula for giving others the same gift.
That literature has been made available by Michael Swartz,2 who gives us
rare glimpses of how ancient and medieval Jews viewed this process of
rapid learning aided by angelic conjuration. He examines many of the
magical rituals for conjuring angels and ascending to heaven,3 in the
Merkabah chariot, a magical practice that is still very much a part of the
practical Kabbalah. Furthermore, just six notae are to be found in one
Hebrew manuscript (BL Or. 14759) with a few introductory lines of Hebrew
(including a mention in Hebrew of the book Sepher Ha-Mazloth),4 that leads
us to the temptation to suggest a Jewish origin. Richard Kieckhefer makes
the same suggestion of a Jewish origin, in passing, by referring to the Ars
Notoria as a pseudo-Solomonic adaptation of Jewish magic:
the Liber visionum by John Morigny adapts the ars notoria, itself a
pseudo-Solomonic adaptation of Jewish magic to gain knowledge
and enhance memory..."5
Kieckhefer does not give any support for his statement beyond the
association with Solomon. However, as in the case with the Sepher Maphteah

1 Unknown words, probably corrupt words from Greek sources.

2 Complete translations of the principal Sar-Torah texts will be found in Michael
D. Swartz, Scholastic Magic, Princeton: PUP, 1996.
3 Or 'descending/ as it is sometimes put.
4 'Book of the Zodiac' or more broadly 'Book of the Cosmos.'
5 Richard Kieckhefer, 'Did Magic have a Renaissance?' in Magic and the Classical
Tradition, (ed.) Charles Burnett & W. F. Ryan, London: Warburg, 2006, p. 210.

18
 Ars Notoria

Shelomoh, with which this particular Hebrew manuscript is bound, this will
almost certainly turn out to be a Hebrew copy of a Latin original.1
The Ars Notoria is 'Solomonic' only in the sense that he was a putative
author, and in an academic sense, as it is often grouped with other
Solomonic manuscripts such as the Lemegeton. But in a strictly magical
sense, as delimited by the nature of the techniques involved, Ars Notoria
is definitely not a text of Solomonic magic. Its techniques are more a
function of contemplation and prayer, which are quite likely to have
evolved in the cloister or the yeshivah, but not in the circle of evocation.
Finding any roots for this text amongst Solomonic grimoires is highly
unlikely as its notae do not resemble any typical Solomonic talismans,
sigils or seals, in any way. They are totally unique. Their design was
taken very seriously, as evidenced by the amount of effort and
painstaking design and draughtsmanship put into their construction
(much more than most talismanic drawings in Solomonic manuscripts).
If Ars Notoria is not Solomonic evocatory magic, then what is it? Despite
basic requirements concerning moon phases, there is no elaborate system
of 'elections' either, so it cannot be categorised as Astral or Image magic
either. Beyond that all we can say is that it is in a class of its own. We are
left with a totally unique style of magic.
Examination of the verba ignota suggest a mixture of Greek and Hebrew
origin. If we look at the names invoked, we see a few ending in '...iel' (a
typical Hebrew angelic name ending) but also many that end in '...mai' a
typical Greek ending for verbs. For example (in Section 118):
...Sazamai, Geternamai, Salathiel, Gozomiel, Megal, Nathamian,
Jamazair, Sephonai, Mois, Raima, Zaramaen, Gezonomai, Amamin,
Delot, Azememelot, Chades, Baruc., Smor, Gezeron, Malaparos,
Ellamai, Merai.
There are a scattering of angel names, such as Camael/Camiel and
Pamphilius who is mentioned four times, and is also reputed to have
given a book of Wisdom to Solomon. Raphael and Gabriel appear once,
but Michael takes a much more important role being the name inscribed
in the Figure of Memory (see Figure 06). As an angel who also helps
bind spirits this seems appropriate. Ambiguous demon names such as
Azathabelial appear, but not in sufficient quantity to support the
theologian's claim that the verba ignota were all spirit or demon names.

1 See Hermann Gollancz, Sepher Maphteah Shelomoh, York Beach: Teitan, 2008,
Introduction, pp. x-xiii.

19
 Ars Notoria

Figure 02: Notae in the form of a column resting on an inverted head.1

Figure 03: Byzantine column supported by the inverted head of Medusa that
had previously graced a Greek temple, but then was used in the construction of
the Basilica water cistern of Constantinople.

1 Mellon 1, f. 16. Also found in other later manuscripts of the Ars Notoria.

20
 Ars Notoria

Greek Origins
There is however some rather unique circumstantial iconographic
evidence which supports a Greek origin. Not just a general Greek cultural
origin but specifically a Greek city of origin. The clue is to be found in the
7th nota of Philosophy which shows a column resting on a massive
inverted marble head. It is probably fair to say that such a column is
totally unique and only to be found in one place in the world: in the water
cistern of old Constantinople (Istanbul) that was constructed in the 6th
century by the Emperor Justinian. The Emperor 'harvested' 336 marble
columns from various pagan temples to support the roof of his huge
cistern. It was so massive that it has been compared in size to a Basilica,
and was capable of holding at least 100,000 tons of water. Just two of
these columns utilised massive inverted Medusa heads as their bases, in
a clear demonstration of architectural disrespect for their pagan origin.
In the illustration of the two notae (Figure 02) you can clearly see these
two columns resting on their respective inverted heads. Even the curved
lines on either side of the notae drawings seem to reflect the architectural
ribs of the cistern roof appearing to spring out from the sides of the
column (Figure 03). These columns in the cistern of Constantinople are
so unique that it is very likely that the person using this image to design
two of the notae was a native of Constantinople, and familiar with this
particular cistern. Therefore it seems highly likely that the author, or at
least a redactor, was a native of Constantinople.
Jean Dupebe as long ago as 1987,1 suggested that the origins of the
practice of the Ars Notoria might be sought in Neoplatonism or even
theurgy. Although I do not entirely agree with his conclusions, or his
definition of theurgy, some of his arguments strengthen the case for the
Greek roots of the Ars Notoria, and its transmission to the Latin west via
Constantinople. There are also some statements in Sections 45-46 that the
Orations specifically contain Greek names:
These Greek Names following are to be pronounced... Hiema,
Helma, Hemna.
Finally, a Greek origin is suggested by the pseudepigraphic attributions
of this text to Apollonius of Tyana and Euclid,2 both Greek magicians.

1 Dupebe, Jean. 'L'Ars notoria et la polemique sur la divination et la magie' in

Divination et controverse religieuse en France au XVIe szecle, Paris: L'E.N.S de
Jeunes Filles, 1987, pp. 122-134.
2 The reference is to Euclid of Thebes (in Greece), the father of Honorius, the
supposed author of Liber Juratus, rather than Euclid the geometer.

21
 Ars Notoria

Critics and Famous Owners

Many Latin manuscripts of the Ars Notoria are extant, extending over a
period of 640 years, with the earliest dating from 1225 (Yale Mellon 1) to
the latest, a manuscript copy of the English translation made by
Frederick Hockley in 1867.1
The Ars Notoria was disapprovingly mentioned by William of Auvergne
(c. 1190-1248) in 1228,2 at which time he also condemned Liber Juratus.
The first part of Liber Juratus derived many of its prayers from the Ars
Notoria,3 but focussed on visions of God rather than on academic
success.4
Soon afterwards the Ars Notoria was mentioned in 1236 by Michael Scot
(1175-1232).5 One of the prayers designed to teach eloquence in Ars
Notoria was copied, adapted and almost certainly used by the fiery
Christian sermoniser St Anthony of Padua (1195-1231). This prayer also
appears in print in one of St Anthony's works, but even a saint's use
could not preserve the Ars Notoria from continued suspicion and
criticism by the ecclesiastical establishment.
The Ars Notoria was also mentioned by Peter de Abano (1175-1234) in his
brilliant Conciliator, and also in his Lucidator. Albertus Magnus made a
passing reference to the Ars Notoria in his Speculum Astronomiae ('The
Mirror of Astronomy') soon after 1260 in which he defended astronomy
as an acceptable form of Christian knowledge, but nevertheless took a
sideswipe at Astral/Image magic and its "detestable use of images in
engraved astrological objects."
Thomas Aquinas (1225-1274) in the section on superstitious observances
in his Summa Theologica ('The Pinnacle or Summary of Theology')
roundly condemned the Ars Notoria,6 pointing out that the unknown
words in it could easily be the names of devils.

1 Frederick Hockley, Ars Notoria: the Notary Art of Solomon, York Beach: Teitan,
2015.
2 In De Legibus, (1228-30), Chapter 24.
3 See Appendix 3.
4 See Gösta Hedegärd: Liber Juratus Honorii, Stockholm: Almqvist & Wiksell,
2002, pp. 45-48, 298-336. The fact that many of the orations or prayers are
common to both the Ars Notoria and the Liber Juratus, was also pointed out by
Joseph Peterson in The Sworn Book ofHonorius, Lake Worth: Ibis, 2016, p. 44.
5 Wood Brown, An Enquiry into the Life and Legend of Michael Scot, Edinburgh:
Douglas, 1897, p. 204.
6 In Summa Theologica, 96,1.

22
 Ars Notoria

Roger Bacon (1219-1292) compiled a list of all the books that he

considered needed to be prohibited by law in his Opus Tertium ('Third
Work'), and amongst these books was the Ars Notoria. As you can see,
many of the most famous theologians and magicians of the 13th century
were familiar with this work, but had to publicly disapprove of it.
Later, in the early 16th century, Trithemius may have had the Ars Notoria
in mind when he made the claim that "he had written a book giving an
occult method by which a person totally ignorant of Latin could learn in
an hour's time to write anything he wished in that language."1 The fact
that the Ars Notoria, by then a well-known text, appears in neither his
comprehensive list of Solomonic magic books nor in his Astral magic list
of books suggests that it belongs to neither of these categories.2
Many copies of the Ars Notoria are known to exist, and later in the 16th
century John Dee (1527-1608) had at least two manuscript copies of the
Ars Notoria in his library, as did Simon Forman (who copied it no less
than three times in 1600).3 Both Robert Fludd (1574-1637), the English
Paracelsian physician, and Ben Jonson (1572-1637), the Elizabethan
playwright both owned copies of the Ars Notoria.
William Lilly (1602-1681), the astrologer, also had two copies of the Ars
Notoria:
One whole year [1633-1634] and more I continued a widower, and
followed my studies [in astrology and magic] very hard; during
which time a scholar pawned unto me, for forty shillings, Ars
Notoria, a large volume wrote in parchment, with the names of
those angels, and their pictures, which are thought and believed
by wise men, to teach and instruct in all the several liberal sciences,
and is attained by observing elected times, and those prayers
appropriated unto the several angels.4
Lilly and his good friend the antiquarian Elias Ashmole (1617-1692)
shared at least one copy of Ars Notoria.
This book continued to suffer considerable opposition, and so was often
bound without its notae, anonymously between other texts, purporting

1 Thorndike, History of Magic and Experimental Science, Volume VI, Columbia,

1941, p. 439.
2 Antipalus Maleficiorum, 1508.
3 His source according to Kassell (2005), p. 218 was Bodley 951, but more about that
anon. This effectively makes his three copies 15th century in terms of their content.
4 William Lilly, History of his Life and Times, London, 1724, pp. 45-46.

23
 Ars Notoria

just to be a selection of prayers.1 The opposition was not only from the
Church, but also from civil authorities. In 1657 the book came to the
attention of one of the Parliamentary Committees which wondered if
they had the power to call Robert Turner to account. In 1704 the
Committee did exercise that power by having The common hangman'
burn 'philosophical' books of which they disapproved, in the New
Palace Yard at Westminster, although this does not seem to have
happened to the Ars Notoria. However, on the day in January 1656-57 on
which they considered the Ars Notoria:
Judge-Advocate Whalley offered a book again to the Committee, which he
could not call less than diabolical. He read the title of it; it was called 'Ars
Notoria,' Englished by one Turner, who had the impudence not only to
put to it his name, but to dedicate it to one Mr. William Ryves, and say,
"Printed by J. Cottrel; to be sold by Martha Harison, at the Lamb at the
East-end of Pauls, 1657."
He was directed by the Committee to read such places of the book as he
misliked.
He read first the title, which was thus: "Ars Notoria, or the Notory Art of
Solomon, showing the Cabalistical key of magical operations, &c.,
Judicial Astrology, Art of Memory, &c." He read other parts of the book,
where a great efficacy was placed in repeating certain words at some
hours, and several other odd tricks of conjuration, as that laying one's
finger behind the right ear was good for the memory, and abundance of
such stuff.
Mr. Bampfield said the title of the book was sufficient to condemn it, so
[it was] Resolved, that this book be referred to a Committee to consider
thereof, and report their opinions to this Committee, and that they send
for the parties, and take care that the books be not dispersed abroad.2

One manuscript of the Ars Notoria copied in 1712 from Dr Rudd's mid-
17th century manuscript has the following comment:
This is a flower of the sun (as Dr. Rudd calls it) fit for every mans garden;
its vertues will soon be knowne if practised, and the blasts of vice
dispersed. Its subject is too sublime to be expresed quod portess per fidem
intelligi et non aliter et perfidem in es sporare potes.3

1 For this reason, in some cases, librarians catalogued the Ars Notoria simply as a
prayer book.
2 From The Diary of Thomas Burton Esq, Volume 1: July 1653 - April 1657, 1828, pp.
299-300.
3 "In no other way except by faith can we understand it..." in BL Harley 6483.

24
 Ars Notoria

And Dr. Rudd saith in vindication of this book and himselfe - Dico
coram... separabor.. 3

Not all critical attention to the Ars Notoria resulted in condemnation,

suppression or destruction. One German Franciscan author, Thomas
Murner (1476-1537) wrote and published the book Logica Memorativa:
Chartiludium logice, sive totius dialectics memoria ('Memory Logic, of
Gameplaying, or all the dialectics of memory') in Krakow in 1507.12
Murner and his book were "found so successful in making illiterate men
erudite and efficient in logic and memory in an unlikely short period,
that suspicion emerged that it had something to do with magic,"3 as
indeed was the case with suspicions about the Ars Notoria. Murner's
book was reported by a member of the college and found itself the object
of an investigation by the academic body of Cracow University.4
One member of the University, Johannes de Glogovia, later confirmed
that the professors quickly concluded "that the work reflected not so
much magical, as divine talent, and enthusiastically recompensed the
author." They could obviously see the benefits of such a method in the
academic environment.

Possible Authors
The authorship of the Ars Notoria is traditionally credited to Solomon,
who received it from God via the hand of the angel Pamphilius. Several
manuscripts claimed that Solomon learned all his wisdom using this
text. Whether true or not a fairly large group of monks, priests and
others must have used the Ars Notoria to lighten the load of their studies.
Even today the rapid acquisition of subjects is a beguiling prospect.
The author of the Flores Aurei/Golden Flowers (an integral part of Ars
Notoria) was said to be Apollonius of Tyana (or 'Belenus' as he was
known in the Arabic speaking world). It is highly unlikely that either
Solomon or Apollonius actually wrote the Ars Notoria, and both names
were obviously just convenient pseudepigraphic ascriptions.

1 The following Latin passage is Dr. Thomas Rudd confirming he is a baptised

Christian who would never write anything contrary to the beliefs or purity of
that faith. Rudd's sentiments were later exactly repeated word for word by
Turner in his dedication to his 'Ingenious Readers.' See Chapter 8.
2 And later in Strasburg in 1509, as it was so popular.
3 Benedek Läng (2008), pp. 227.
4 "Manlius claimed in the sixteenth century that magic had been widely used
and publicly practiced in Krakow a century earlier. - Läng (2008), p. 230.

25
 Ars Notori a

Although the Ars Notoria was probably originally conceived of in (or

transmitted via) Constantinople as we have seen, and was definitely a
part of Greek magical culture, the earliest manuscript we have, Yale
Mellon 1, was written in northern Italy in Latin. Veronese is very certain
the origin of this particular manuscript was in Bologna.1 This university
town was also one of the key cities in the transmission and translation of
other magical works such as the Greek Magical Treatise of Solomon which
was translated into the Latin as the Clavicula Salomonis (the Key of
Solomon).2
At this time Bologna was a major centre of scholarly effort - and Bologna
University, by its own account, was the oldest university in Europe in
continuous operation, having been founded in 1088. It was also the
home town of two very famous thirteenth-century Bolognese teachers of
the Ars Notaria, Rolandinus3 and Salatiel. It looked as though we might
have identified a potential author, until we looked again at their art
which was Notaria not Notoria. These two were in fact famous penmen,
drafters of great Charters, and masters of calligraphy, not masters of the
art of memory. They were certainly capable of drafting the beautiful Yale
Mellon 1, but appeared not to have shown interest in its subject matter.
We looked again at figures current in Bologna around this time and
noticed Boncompagno da Signa (1170-1240). Like Rolandinus and
Salatiel, he held an important place in the history of the Ars Dictaminis,
the art of drafting official documents, letters and charters. During the
time he worked at the University of Bologna he wrote upon many
aspects of grammar, rhetoric and prose composition, all ingredients of
the Trivium. But even more interesting, he was fascinated by memory,
and even composed a detailed essay on that subject.4 Although we have
no certainty that he was involved in the more occult facets of memory
development, his interests, graphical abilities, geographical location and
timing certainly fit the profile of a potential translator or copyist of the
Mellon Ars Notoria.

1 Veronese (2007), p. 30. Also his thesis Vol. 1, Ch. 2, p. 17-18.

2 The oldest extant Greek manuscript of that work (1440) still resides in the
library of the University of Bologna.
3 Rolandino da Passagerii, Summa Artis Notariae, 1590. His extraordinary two
floor tomb supported on nine marble columns can still be seen today in
Bologna.
4 Sean Gallagher, 'Boncompagno da Signa, On Memory' in Carruthers & Ziolkowski,
The Medieval Craft ofMemory, Pennsylvania: Pennsylvania State UP, 2002.

26
 Ars Notoria

John of Morigny and the Liber Visionum

Sophie Page says of the Ars Notoria that it was "written for the student
seeking help with his studies and the monk aspiring to visionary
experience/'1 but this is only partly true. For most of the 13th century the
Ars Notoria was used by students and monks to facilitate the rapid
absorption of subjects, with the visionary part restricted to the initial
operation designed to request permission to go forward. It was only at the
beginning of the 14th century the idea of using it to conjure visions (holy or
otherwise) became an important objective. A monk called John was in the
vanguard of that evolution.
John was one of the early recorded owners of a copy of the Ars Notoria.
He was born in Autruy in the 1290s, became a choirboy at Chartres
around 1297, and later a novice at Morigny. He was then sent to Orleans
to study law. Probably that is where he encountered the Ars Notoria and
worked with it during 1304, also teaching his sister, Bridget, its method.
John of Morigny however found that using the Ars Notoria without proper
preparation caused him to have terrifying demonic visions, and so he
prepared a bowdlerised version of it in 1311 which he called Liber
Visionum, and later an even more 'purified' version in 1315 which omitted
the notae and concentrated its focus on invocations of the Virgin Mary.
It is instructive to look at John's early history to understand what
happened.
When I, John, was about fourteen years old and lived in the city of
Chartres in the close [lane] of the blessed Mary, very close to the
church, about a stone's throw away, this vision was shown to me...
On a certain night I was placed in a kind of ecstasy, whether in the
body or out of the body I know not, God knows.2 And lo, I saw a
certain horrible figure, and it seemed to me absolutely certain that
it was the enemy of the human race. And that figure rose up
against me, wishing and craving to suffocate me. When I saw it I
fled aghast in great fear from its terrible face, and it pursued me
hither and thither, and could not catch me, and yet pressed upon
me as it followed, so that I left the house I was in, fleeing from the
face of my persecutor. And when I went outside it did not cease to

1 Sophie Page (2013), p. 115.

2 This is very reminiscent of the passages in Ars Paulina where the vision
voyager is not sure if he is astrally projected, or still in his body.

27
 Ars Notoria

pursue me; and when it rose up hugely, I stopped in my tracks

and ran towards the church of the blessed Mary...
And lo, suddenly the devoted virgin Mary counselled me sweetly
with a sign of her arm that I should come to her... And I did not
see my persecutor the devil any more after that.1
From this passage it is obvious that John was from his youth both
afflicted by demonic visions, and attached to the Virgin Mary, long
before he got involved with the Ars Notoria. Not only was the Virgin
Mary a prominent figure in the church he lived next to, but the door that
he entered the church by had a curved architrave which featured not
only many angels but also the seven Liberal Arts, a clear foreshadowing
of his later experience with Ars Notoria.
Although John s book is usually referred to as Liber Visionum, in fact this
is just the title of the (autobiographical) introduction, while the heart of
the book is called Liber Florum Celestis Doctrine, the 'Book of the Flowers
of the Heavenly Learning,' a clear nod in the direction of the Flores Aurei
('Golden Flowers') of the Ars Notoria.2
Its complete title is The Book of Flowers of Heavenly Doctrine Book of the
Grace of Christ (or Seven Prayers) and it contained: Part I, a 'Book of
Visions' (which contained John's autobiographical visions); Part II,
'Thirty Prayers: a Book of Prayers' and a 'First Procedure'); Part III, a
'Book of Figures.' For convenience (and backward compatibility) we will
continue to refer to the whole volume as Liber Visionum.
His Liber Visionum came in three recensions: the Old Compilation (only
one manuscript known) written by 1311; the New Compilation (at least
twelve manuscripts are known) completed in 1315; and the third
compilation (consisting of six manuscripts).
The notae in the Old Compilation are described rather than illustrated,
and amount to circa 90 figures. After criticism the New Compilation cut
this number to eight: being seven figures of Mary and one of Jesus
Christ. Consequently neither version of the Liber Visionum has much in
the way of notae.
John's introduction which sets the scene says "Here begins the Book of

1 Translated in Nicholas Watson and Claire Fänger, 'The Prologue to John of

Morigny's Liber Visionum,' in Esoterica: The Journal of Esoteric Studies 3, 3001, p.
108-217.
2 John borrowed his title from The Flower of Heavenly Learning in Section 38.

28
 Ars Notoria

Visions of the blessed and undefiled Virgin Mary, mother of God which
she gave to her servant John in the year of our Lord 1308 after the
reprobation of the nefarious Ars Notoria and the other parts of
necromancy." John thought that he had heavenly approval for his
revised book, specifically from the Virgin Mary, but despite this in 1323
his book was publicly burned in Paris as it was considered a revival of
the 'accursed' Ars Notoria. John later thought that he saw in a vision a
conversation between the three persons of the Trinity (God the Father,
Jesus Christ and the Holy Spirit), but also a vision in which he was to be
killed by a demon, so even after 'purifying' the Ars Notoria, he was still
plagued with visions.
John explained that he had discarded the evil parts of the Ars Notoria, but
retained the verba ignota, "plundering its divine words as the Hebrews
had plundered the Egyptian treasure." He assumes (probably correctly)
that these words are one of the real treasures of the book. He thought that
these words were of Egyptian origin, which is possible, but their
transmission route via the Greeks is more likely than that via the Jews.
John's Liber Visionum initially preserved the same subject matter, the
rapid learning of the seven liberal arts plus philosophy and theology,
but added the acquisition of the beatific vision and the supposed
endorsement of the Virgin Mary. In summary, the Liber Visionum of John
of Morigny is derived from the Ars Notoria but is a 'sanitised'
Christianised version with 'acceptable' figures presided over by the Virgin
Mary, but with no true notae at all. These efforts by John have generated
the bulk of the academic studies of both the Ars Notoria and Liber
Visionum. With regard to examining the development of the notae, the
Liber Visionum, is however a bit of a cul-de-sac.

Ars Notoria and the Liber Juratus

The title of Liber Juratus is conventionally translated as 'The Sworn
Book,' but it would be much more useful to understand it as 'The
Oathbound Book' as that title reflects the conditions under which it was
supposed to be passed from one magician to the next. It is common
knowledge that Book I of the Sworn Book of Honorius or Liber Juratus
Honorii has a number of prayers (or orations) derived directly from the
Ars Notoria. Both these texts date from the early 13th century, and both
were mentioned critically by William of Auvergne in 1228.1

1 In the case of Liber Juratus, the title referred to by William was Liber Sacratus.
This probably equates with Liber Sacer, another early title of Liber Juratus.

29
 Ars Notoria

It has been established that the direction of borrowing was from the Ars
Notoria to the Juratus, but just in case there are any lingering doubts
about that, I would like to cite a confirmatory passage. Towards the end
of Section LXIII of Liber Juratus a reference is made to "the mysteries of
the figures." Joseph Peterson is quick to point out that "this refers no
doubt to the notae or mystical drawings which are the centerpiece of that
art," the art of the Ars Notoria.1 There are no such figures in the Juratus,
and clearly the redactor who copied these prayers from the Ars Notoria
forgot to edit out that mention. In order to show the extent of the
borrowing, which was extensive, we have tabulated it in Appendix 3.
There are no less than 74 passages or whole prayers borrowed by Liber
Juratus from the Ars Notoria.
This also demonstrates how important the Ars Notoria was to the early
history of the development of the grimoire. In some ways, the author of
Liber Juratus has done something similar to the author of Liber Visionum:
taking the prayers and verba ignota from Ars Notoria in order to build a
system whose objectives were devotional prayer resulting in the beatific
vision, rather than the intellectual acquisition of knowledge. Liber Juratus
has a second part (Books II-IV) which is much more Solomonic in nature.
That part is more like a conventional grimoire, and was obviously derived
from a completely different source, not the Ars Notoria, as it deals with the
conjuration of angels and spirits (both of the air and of the earth).

Distribution of the Manuscripts of the Ars Notoria

By the time John had finished his work on Liber Visionum, copies of the
Ars Notoria were in circulation in France, Germany, Austria, England,
Italy, Spain, and Hungary. Veronese outlines a distribution of the
present location of some 74 manuscripts by country:
UK 22
Germany 15
France 12
Italy 9
Austria 8
Czech Republic 2
Poland 2
US 2
Israel 1
Outside Europe 1

1 Peterson (2016), p. 141.

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 Ars Notoria

Interestingly the UK is leading the tally, which may simply be a result of

greater scholarly access to catalogues or more precise cataloguing. The
present Bibliography lists over 110 manuscripts.
Of these manuscripts we have chosen to concentrate on those we see as
the most significant:
From US: Yale Mellon 1
From UK: BL Sloane 1712
From Germany: BSB CLM 276
From France: BnF Lat. 9336
From Israel: NLI Yar. Var. 34
Plus consideration of Bodleian 951 and BnF Lat 7152, 7153 and 7154.
It was not just monks who read and recited the prayers and invocations
in the Ars Notoria. Copies have also been found in the ducal library of
the Dukes of Milan (who owned at least two copies) and in the royal
libraries of Charles V and Charles VI of France.1 As Benedek Läng says,
"the Ars Notaria was far from being a marginal phenomenon in the
Middle Ages."2 Läng helpfully adds that none of the central European
copies of Ars Notoria contained notae. As the art is not viable without the
notae it would seem that it was not practiced in that region, and therefore
in practice its European milieu was Italy, France, Germany and England.

Printed Editions
The Ars Notoria was first printed in the early 17th century editions of the
Latin Opera Omnia of Henry Cornelius Agrippa. By then the Opera had
expanded to contain the Fourth Book of Occult Philosophy3 and other books
of magic definitely not by Agrippa, like the Ars Notoria. Although at least
four editions were dated circa 1620, the edition we consulted had
constituents like the Three Books of Occult Philosophy still appearing with an

1 One of the Dukes of Milan also sponsored at least two translations of the Key of
Solomon.
2 Benedek Läng (2008), pp. 185.
3 Although this book has often been said to be bogus, it contained one genuine
work by Agrippa on geomancy, and a number of other books clearly attributed
to other authors. These constituents do not claim to be by Agrippa, but are by
other known authors, so I cannot understand the regular academic accusation
that this book was 'bogus.' In fact it just followed the common publishing
practice of using the name of the best-known author in a collection to front the
whole volume.

31
 Ars Notoria

old unchanged 1551 title page. Sadly, it has not been possible to identify
the precise manuscript used by the Beringos brothers when they edited
the Ars Notoria in Agrippa's Opera Omnia.

Turner's English Translation

The first and only (to date) translation into English of the Ars Notoria
was done by Robert Turner in 1657. Robert Turner's edition of the Ars
Notoria is his translation of the Latin version which was printed in
Agrippa's Opera Omnia. Unfortunately, both the Latin original and
Turner's translation omit the key notae or magical drawings which are
the main part of this art, without which it cannot be practiced, thereby
adding greatly to the difficulty of reading the text.

HENRI CI COR-
NELII AGRIPPAE AB
NETTESHEYM A* CONS1LJIS ET
Archiuis Inditurn Ger; CAESAREAB
Mateftans:
De Occuitatyhtojopbia Libritrer.

Nihil efl operturn,quod non reurletuv,w ocadtum

quod nonjciatur. Natthat X.

Cunt Grtiit ej Priuilrgio Ctfartt MAieflitis td tritmwn-

M D L I.

Figure 04: Title page of Agrippa's De Occulta Philosophia Libri tres, 1551, which is
bound with a copy of the Latin text (Version A) of the Ars Notoria, in an early
17th century edition of Agrippa's Opera, published c. 1620, pp. 603-660.1

That omission was a major driving force in our decision to produce the
present edition, which remedies that defect by placing thumbnails of the
relevant notae into the text at the relevant point. The full-size nota can
then be referred to in the range of notae reproduced in Chapters 7 or 9.

1 We have used this c. 1620 edition of the Opera Omnia which contains the Ars
Notoria. Needless to say the Ars Notoria was not written by Agrippa, who
flourished 300 years after its first appearance.

32
 Ars Notoria

Because of the age in which Turner lived, soon after the Protestant
revolution engineered in England by Henry VIII, his translation exhibits
some minor anti-Catholic bias. This only affects a few passages where,
for example, he omits references to Catholic confession and also drops
references to retaining faith in the Catholic church.
There seemed to be no academic agreement on the Latin source of
Turner's translation. Frank Klaassen states that Robert Turner's
translation relates to Bodley 951.1 Robin Cousins claims that Turner's
source was Ashmole 1515 (which he erroneously calls Ashmole 5151).2
That manuscript is a tempting choice as it contains an English
translation that pre-dates Turner, but this is not the source, as these two
English texts have many differences.
However the obvious source is the printed version in Agrippa's Opera
Omnia. In favour of this source is that Turner had already translated
Agrippa's Fourth Book of Occult Philosophy from the same volume, and so
it would have been logical to use that as his source. We have reproduced
that Latin text in the present volume, with its Section numbers also
mapped onto Turner's translation. This mapping shows the exact
closeness of these two versions, but the clincher is that Turner's 'Figure
of Memory' could not have come from either Bodley 951 or Ashmole
1515, as neither of these have it, but the Opera Omnia text does,
confirming it to definitely be Turner's direct source.

Reorganisation of the Text

Veronese’s numbering of the Latin sections runs as follows:3

Sections 1-66: Flores Aurei: general orisons to reinforce memory,
eloquence, and intelligence.
Sections 67-109: Special orisons concerned with specific subjects like
Grammar, Theology and Philosophy.
Sections 110-125: Ars Nova.
Sections 126-127: Novem Termini.4
Sections 128-147: Instructions concerned with inspection of the notae.5

1 Klaassen (2013), p. 231, fn. 13.

2 In Turner, Elizabethan Magic (1989), p. 140.
3 Veronese (2007), p. 18.
4 'Nine Terminus' prayers. Missing from Turner.
5 Sections 131-134 were strangely misplaced in both the Latin and Turner's
translation, but these have been re-inserted into the numeric sequence.

33
 Ars Notoria

One strange thing about both Turner's translation (and the Latin text on
which it was based) is the sequencing of the Section numbers. We clearly
see in both the Opera Omnia Latin and Turner's English the Section
numbers are rather scrambled:
Sections 1-81; 147; 132-134; 82; 128-130; 135-146; 83-125; S147-S180.1
We initially decided to re-align them in Section number order, to align
with Veronese's numbering but this made a nonsense of the subject
sequencing.2 Upon examining the actual content it was decided to
reorganise it so that the Sections fell in logical subject order instead:
Sections 1-70: On Memory, Eloquence & Intelligence
Sections: 71-89,128-147: On the Liberal Arts or Trivium.
Sections: 90-109: On the subjects of the Quadrivium.
Sections: 110-125: Ars Nova.
Sections: S147-S176: Supplementary Gloss and Prayers.
Sections: S177-S180: On the Figure of Memory.
The Latin text has not been changed, so that the original arrangement
can be easily be referred to in Chapter 10, if necessary.

Versions of the Ars Notoria

The standard critical edition of the three main variant Latin texts has
been published by Julien Veronese.3 He transcribed and labelled the
three different versions as:
Version A (62 printed pages and 147 Sections - 13th century);
Version B (152 printed pages of the glossed 14th century version);
Opus Operum, the 'Work of Works' (36 printed pages - practical).
The Turner translation maps on to the Veronese Latin of Version A (with
some additional material from Version B or Opus Operum at the end.
Turner's page numbers, as well as the Latin Section numbers (as recorded

1 The Supplementary Gloss and text of the Prayers found at the end have been
given arbitrary 'S' numbers to aid in their identification as 'Supplementary.' The
original end of the text marker (the Explicit) at Section 147 occurs part way
through the text rather than at the end.
2 With all these differences it should have been relatively easy to identify the
manuscript source of the printed Opera Omnia edition, and consequently of
Turner's translation.
3 Veronese (2007) primarily used the 14th century BnF Lat. 9336.

34
 Ars Notoria

by Veronese in Version A) have been added to both the Latin and the
translation to enable cross-reference to be made more easily. As neither of
these sources have notae, we have also inserted thumbnails of the relevant
notae (taken from Mellon 1 in almost all cases) where they are clearly
mentioned in the English text.
There are therefore two series of page numbers to help the reader follow
the text in the English translation:
The square brackets [ ] refer to the Latin text as edited by Veronese (2007).
The curly brackets {} give the page number in the Turner translation.1
The Turner edition of Ars Notoria had a wide distribution in its time and
is often quoted by collectors and practitioners alike today. This is partly
due to its rather unwarranted inclusion in the Lemegeton, a work that has
gained much exposure over the last century thanks to its mention by
individuals such as S. L. MacGregor Mathers, Aleister Crowley and the
editors of more recent editions like Joseph Peterson.
While the Turner edition gave us the text of the work, it is completely
unusable due to its omission of the notae. In this respect it is like owning
a nice car which lacks an engine: good to read (or sit in) but no use in
practice, or to take you anywhere.

Derivative Works
Opus Operum, although technically a derivative work, in facts fits very
well with the Flores Aurei, as it consists of integral practical instructions
for its use. The most famous text derived from the Ars Notoria, as we
have seen was John of Morigny's Liber Visionum. In the 14th century a
Master Tomas of Toledo also generated a simplified version where the
procedure could be done in a more rapid fashion.2 This contained only
three Latin prayers, a figure and a 'notule.' A more widely distributed
text is the Ars Brevis which we will explore in the next section on the
'Figure of Memory.'
Moving even further away we come to the 15th century Ars Paulina, which
was attributed to St. Paul, and conformed more to Christian ideals, with its
figures or notae increasingly dedicated to the Trinity, the Virgin, the angels
and saints. It was obviously designed for ecclesiastical consumption as it
aimed to make the operator a master of the Holy Scriptures in four months.

1 In the Latin text (Chapter 10) the curly brackets { } refer to pages in the Opera
Omnia.
2 Vatican, Biblioteca Apostolica, Pal. Lat. 957, ff. 92v-95.

35
 Ars Notoria

The Figure of Memory

Both the Latin edition in Agrippa's Opera Omnia and Turner's translation
included a simple, but rather enigmatic diagram. On page 129 of
Turner's edition we find an unlabelled and largely unreferenced figure
of a circle divided into quarters by a double line cross (see Figure 05). In
the upper part of the annulus is clearly written the phrase "En
Coronatorum Michall" or 'Look at the Crown of Michael.' At first glance
this might appear to be a seal or pentacle of sorts.
One of our initial thoughts was that perhaps it was a reference to the use
of the "Chaplet or Crown of St. Michael," a form of devotion honoring
the archangel Michael.1 A second idea was that this was a pictorial
representation of the crown of the archangel Michael, especially as this
archangel is of particular interest to magicians, as he is known for his
ability to subjugate spirits and demons.
Very early depictions of Michael show him wearing a crown or helmet
in a somewhat military fashion. This is nearly always adorned with a
cross. In other depictions he is seen to be wearing a bold crucifix upon
his head surround by a halo or in other words a 'cross within a circle.'
Additionally, one common piece of equipment frequently used in
Solomonic evocation is the magician's crown marked with suitable angel
and god names designed to awe the spirits.

Figure 05: Left - The Figure of Memory as it appears in Agrippa's Opera.

Right - The version found in Turner's translation.

1 Not an unlikely assumption as the Archangel Michael had in fact been

honoured as a god by a sect based in Phrygia (Turkey) in the 5th century.

36
 Ars Notoria

There is an interesting difference between the figure in Agrippa's Opera

and the figure in Turner's edition. In Agrippa the image has the
inscription appearing in the upper right-hand corner of the circle while
Turner's edition has the writing in the upper left. At first one might
easily believe that this was a printing error, with the image flipped by
mistake, as was the case with the 'Holy Table' in Casaubon's edition of a
True and Faithful Relation of what passed for Many Years Between Dr. John
Dee and some Spirits. However this is unlikely because the spelling of
Michael in Agrippa is 'Michael' while the spelling in Turner's edition is
'Michall.' Had the image been simply reversed one would expect the
spelling to be identical. Why then did Turner chose to transpose the
writing to the opposite side?
An answer to this mystery did finally present itself in the form of a
rather obscure and little-known manuscript located in the Ritman
Library collection of the 'Embassy of the Free Mind' in Amsterdam.
This manuscript dates from the seventeenth century. It is bound in rather
plain undecorated boards with the spine re-enforced by what looks to be
folios taken from a scrap manuscript. The Latin is written in a relatively
neat and easily readable hand with rubricated sections of text and title. It
also contains eight well-drawn coloured figures. Manuscript Amsterdam
BPH (Bibliotheca Philosophica Hermetica) 242, whose full title is Tractatus
artis notoriae inaestimabilum et propositiones ejus in compendia excerptas quas ille
praeclarus Interpres Apollonius flores aureos appellavit,1 is a uniquely different
development of the Ars Notoria and rather alien in its appearance and
content when compared to all other examples. Although a derivative of
Ars Notoria, it is a completely different work entitled the Ars Brevis
("Short Art"), whose goal is the acquiring of subject knowledge in just
five days, plus the discovery of hidden treasure and clairvoyant abilities.
BPH 242 does not contain any of the traditional known notae but instead
it has a selection of 'kabalistic' figures and seals that one might expect to
see in a standard Solomonic grimoire including a section on the Nomina
et Sigilia Angelorum et Planetarum or 'Names and Seals of the Angels and
Planets.'
The figure on page 32 is of great interest. Illustrated under the title of 'Figura
Memoria' is a large clearly drawn depiction of the Figure of Memory
beautifully rendered in red, pink and gold inks (see Figure 06).

1 "The excellent treatise of the Ars Notoria, an interpretation of the compendium of

excepts from the propositions of Apollonius which he called the Golden Flowers."

37
 Ars Notoria

Unlike the vestigial versions in the printed edition of Agrippa's Opera,

this illustration is complete with its annulus containing the full inscription
"Quis ut Deus. Omnipotens. En Coronatorum. St Michael"12and the centre
emblazoned with a gold seal (based on Hebrew mem 12, 'm' for Michael).
With this new evidence we now know that the illustration in the Agrippa
and the Turner editions is actually afigura of Michael.
This figure was meant to be consecrated by leaving it in or under the
altar during the celebration of a number of masses. Then in was used in
a sort of incubation process which was meant to facilitate dreams of
heavenly revelation.

Figure 06: The Figure of Memory in its complete form as seen in Amsterdam,
BPH 242, Tractatus Artis Notoriae.2

1 Such is God. Omnipotent. St. Michael crowned.

2 Reproduced with permission from the Embassy of the Free Mind, Amsterdam.

38
2. Magicians, Physicians, Scribes, Collectors, and a
Translator
In line with a tradition established in the first volume of the Sourceworks
of Ceremonial Magic (SWCA4) series, and revived in Volumes 9 and 10,
we would like to throw some light on the lives of the magicians,
collectors, scribes, and translators who wrote, owned, and used the
manuscripts of the Ars Notoria. These are not biographies, just a glimpse
of some facets of their lives.

Apollonius of Tyana and the Flores Aurei

Apollonius (c. 15 - c. 100)1 is credited with being the author of the Flores
Aurei, the first part of the Ars Notoria. We do not intend to imply that this
is true - for his was certainly just a famous name added to the Ars Notoria
to burnish its image. However exploring his life may yield some clues as
to why he was chosen as a purported author, and in the process uncover
some interesting insights into how people perceived the Ars Notoria.
The most comprehensive account of Apollonius' life was written by
Philostratus in 217-238 CE, an English translation of which still remains
easily available.2 Despite a certain amount of cynicism about the
truthfulness of this account, at least one event was also reported by
Cassius Dio. The historical validity of Dio's writings has seldom been
questioned, and his 80 volume history of ancient Rome provides the
basis of much of what we know about that Empire today. Dio Cassius
refers to Apollonius as both yoqg pdyog (78.18), both goes and magos.
Dio reports an unusual event that happened in Ephesus (in modem day
Turkey) in 96 CE. There, Apollonius broke off a speech he was giving to
report a vision of the assassination of the Emperor Domitian which was
taking place in Rome at precisely the same time, but 833 miles (1340 km)
away, and gave a running commentary on the assassination, including the
name of one assassin, hour by hour as it happened. In a time when there
was no telephone or email this feat could only have been achieved by
highly developed remote viewing, bi-location, or complicity in the murder
plot (the latter seems rather unlikely). He explained to his dumbfounded

1 Other accounts give 3 BCE - 97 CE or even 40 CE - 120 CE.

2 Philostratus, Life of Apollonius of Tyana, Books 5-8 of the Loeb Classical
Library. Harvard University Press, 2007. Supplementary material is to be
found in Maria Dzielska, Apollonius of Tyana in Legend and History, Rome:
L'erma di Bretschneider, 1986.

39
 Ars Notoria

audience that "thanks to the gods and to his own prophetic insight or
prognosis (zipdyvcocnx;) he had suddenly seen the death of the tyrant." From
this and many other miraculous events, like reviving the apparently dead,
Apollonius derived his fame as a magician. He was even reputed to have
duplicated many of the miracles of Jesus.
Apollonius travelled around Syria and Turkey, teaching, preaching and
offering his services to many cities. Amongst his many skills, Apollonius
was reputed to have constructed large talismans for use by cities to drive
out vermin, manage floods, or suppress the plague. 'Talisman' here
refers to something a lot more substantial than a pocket-sized paper or
parchment talisman. These talismans were metal plates or large
ensouled statues, more accurately referred to as stoicheia (oroiyEia).
Some of these were still visible and viable as late as the 14th century, so
they must have met with the approval of the occupants of the cities they
protected. One classic example was a statue of three inward facing storks
in Byzantium. Their purpose was to deter storks who had previously
been in the unpleasant habit of dropping highly poisonous snakes into
the city water supply, poisoning the drinking water.
One of the books alleged to have been written by Apollonius was The
Great Book of Talismans addressed by Balinas1 to his Son Astumun, which is
still extant in Arabic. In it, Apollonius was called upon by the citizens of
Antioch. At their request "he curbed a demon who terrorized the people,
he regulated the course of the Orontes River and built a talisman
protecting [them] against bed-bugs and mice."2 This is a rather strange
combination of the very serious and the patently trivial. Later another
important work on magic was credited to Apollonius: the Book of Wisdom
(BipXog Socpta^). This mentions talismans in the form of ensouled statues
(stoicheia') used for magic. Georgios Cedrenos actually calls Apollonius a
oTotyEUopariKog, stoicheiomatikos or maker of stoicheia (talismanic statues).
Much later in the 12th century one author remarked upon the continued
effectiveness of talismanic statues made by Apollonius to drive away
mosquitoes and other harmful animals, that in his time still stood in the
Tauri Forum in Byzantium (Constantinople). Apollonius also placed a
bronze eagle in the hippodrome to drive away the venomous snakes that
plagued Byzantium at his time. That talismanic statue stood until 1204 CE
when it was destroyed by the Latin soldiers of the fourth Crusade.

1 Balinas is the name by which Apollonius was known in Arabic.

2 Dzielska (1986), p. 77.

40
 Ars Notoria

Figure 07: A stone 'talisman' invoking the power of seven archangels and their
sigils to protect the city of Miletus.1

Another such talismanic inscription that can be still seen today is carved
on the outer wall of the theatre of Miletus, an ancient Greek city located in
modern day Turkey. This talisman calls upon seven archangels, using
permutations of the seven Greek vowels, a procedure that can be seen in
the Graeco-Egyptian papyri, but not in Christian sources. Angels were as
much a part of Greek magic as they were of Jewish or Christian practice.12
This inscription is located on the wall in the NW corner of the Miletus
theatre. Each oval or cartouche carries the same invocation to each of
seven archangels (Michael, Raphael, Gabriel, Souriel, Zaziel, Badakiel,
and Suliel), with their seals visible on the top line. The Greek invocation
below addressed to each angel in turn is "O Holy One, guard the city of
the Milesians and all its inhabitants."
Although this inscription is conventionally dated by Deissmann as sixth
century, and by Cline to the fourth century, we think it is quite possible
that it is a copy (or even the original) of a first century inscription which
may originally have been designed by Apollonius. Despite the usual
assertion, this is not a Christian inscription as witnessed by the various
Greek vowel combinations in the top of each cartouche. In the Arabic

1 Courtesy of Jona Tendering at Livius.org. See also Rangar Cline, 'Archangels,

Magical Amulets, and the Defense of Late Antique Miletus' in Journal of Late
Antiquity, Volume 4.1, 2011, pp. 55-78.
2 Deissmann's assumption that the inscription must have been Christian simply
because it involved angels is a complete non-sequitur, as angels have been part
of Jewish and Greek magic and belief since well before Christ.

41
 Ars Notoria

tradition Apollonius was called the 'Master of Talismans' (sahib at-

tilasmat) and doctor (al-hakim).
His Biblos Sophias (BipXog Zocptag) includes a number of elements that
later turn up in the Heptameron such as the "secret names of the seasons,
of the hours of days and nights, auspicious hours of particular days of
the week, names of the months and their archons, and secret names of
the sky, the earth, and the winds in each season." This explains why in
the Heptameron stress is laid upon the different names of the Sun and
Moon in different seasons of the year. Most of this data was also relevant
for selecting the correct timings to manufacture talismans.
What has all this got to do with Apollonius' supposed authorship of the
Ars Notoria? The point of bringing up talismans in connection with
Apollonius is that Apollonius used images for magical ends, albeit on a
larger scale than in the Ars Notoria.1 It shows his use of images in magic,
be they 3-D sculptures or 2-D geometric drawings, such as the notae. This
suggests that Apollonius' reputation had a greater affinity with
Astrological Astral or Image magic than with Solomonic evocatory
magic, suggesting that the Ars Notoria might therefore also be closer to
Astral Image magic than to the evocatory Solomonic magic tradition.
In Ephesus, Apollonius was remembered for curbing a pestilence, and his
reputation for healing gave rise to a cult following. Another parallel
between Apollonius and the Ars Notoria is that Apollonius was reputed to
have a secret skill for prophesying illnesses, recognising their causes, and
prescribing their cure. This is also one of the skills supposed to be
delivered by the Ars Notoria (see Section 28).
The reception of Apollonius in the Christian world was extreme to say the
least. Godeau, a minor bishop of Vence (not Venice, as some commentators
would have it) and a historian of the Church, considered Apollonius "the
greatest enemy of the Church in its history," presumably because he
successfully duplicated many of Jesus' miracles, which were for many
people the basis of their faith. Apollonius was even spoken of as a "leader
of evil spirits," making his name a viable candidate for the presumed
authorship of a book of magic. On the contrary, during his lifetime he
reputedly specialised in defeating demons rather than leading them.2

1 The first mention of Apollonius' talismans occurs in Contra Hieroclem by

Eusebius of Caesarea circa 340 CE.
2 For details of Apollonius' control over demons, see Philostratus IV 20; 25; 43;
VI 27; 39. For incantations see IV 4, and for Necromancy IV 45. For memory see
1,14. For discovery of buried treasure possibly with spirit help see VI 39.

42
 Ars Notoria

Figure 08: Inscription commemorating Apollonius7 life and qualities now in the
Adana museum, Turkey.1

One of the cities he visited was Aegaeae. A stone commemoration of his

life, maybe his epitaph, is today to be found in the Adana Museum. It
may have originally come from his temple in Tyana. C. P. Jones
proposed the following translation of the above inscription:
"This man, named after Apollo,
and shining forth [from] Tyana,
extinguished the faults of men.
The tomb in Tyana (received) his body,
but in truth, heaven received him
so that he might drive out the pains of men."
He was buried in a beautiful tomb build high up on a wall in Tyana, a city
where he had been worshipped as a god. The tomb with its inscriptions
survived for almost 2000 years until it was blown up by Daesh-ISIS several
years ago, as part of their effort to destroy every trace of the pagan world
that existed before the time of their prophet.
Even in relative modern times Apollonius still holds a great fascination,
as evidenced by Eliphas Levi (1810-1875) who only attempted one
necromantic operation, which was the unsuccessful evocation of the
spirit of Apollonius of Tyana. Sadly, his only result was a vague ghostly
figure and a temporarily paralysed arm.

1 Photo: J. Marcillet-Jaubert.

43
 Ars Notoria

Euclid of Thebes & Liber Juratus

Euclid (or Euclidis or Euduchaeus) of Thebes, as distinct from the
philosopher Euclid of Megara, or the great geometer Euclid of
Alexandria, is credited with being another one of the four authors of the
Ars Notoria. It is unlikely that Euclid of Thebes penned this text, but this
association provides us with a few more useful pieces of information.
Euclid was reputedly the father of the Honorius the supposed author of
Liber Juratus, and this attribution reflects the actual connection between
the Ars Notoria and Liber Juratus. You can see how closely together these
two grimoires are tied if you examine Appendix 3 which records the 74
passages and prayers in Ars Notoria which were later incorporated into
Liber Juratus.
Although these two grimoires have many prayers in common their
objectives differ. The first half of Liber Juratus focusses on achieving the
beatific vision, whereas Ars Notoria focussed on more practical magical
objectives, like rapidly learning the subjects of the trivium and the
quadrivium. By portraying Euclid of Thebes as one of the authors of Ars
Notoria, as well as being the father of Honorius the author of Liber
Juratus, we are clearly being told that Ars Notoria was the 'father' of Book
I of Liber Juratus, which is certainly true. Books II-V of Liber Juratus are
quite different, and definitely part of the Solomonic tradition.
There is a sense in which both of these grimoires could be categorised as
'Angel grimoires,' although that label can also apply to some Solomonic
grimoires that include invocations of angels. Solomonic grimoires only
use prayer to 'set the scene' and solicit god's imprimatur on the
evocations that follow, whilst the first Book of Liber Juratus and all of Ars
Notoria contain a large number of prayers, which are used throughout,
marking them off as being a quite different method.
The attribution of Euclid as an author reinforces what we know of the
connection between the Ars Notoria and the Liber Juratus, just as the
attribution of Apollonius marks a connection of the Ars Notoria with
image magic. Solomon is mentioned many times because of his universal
fame as a magician and his access to wisdom, but the reason for the
inclusion of Manichaeus is not so obvious. Manichaean literature still
circulated in Greek in 9th century Byzantine Constantinople, at which
time there are records of it being discussed by the patriarch Photios (820-
893), and presumably others. It is therefore not surprising that his name
was still remembered and later added to Ars Notoria as an author.

44
 Ars Notoria

Hartmann Schedel & CLM 276

In the front of CLM 276 is a librarian's note which says "Liber Doctoris
Hartmanni Schedel de Nuremberga" confirming that this manuscript was
at one time owned by the famous German printer, physician, humanist,
historian, cartographer and collector Hartmann Schedel (1440-1514). With
the invention of the printing press by Johannes Gutenberg in 1447, it
became feasible to print books and maps for a larger customer base.
Schedel was one of the first cartographers to use the printing press to
propagate maps in the same way.

Figure 09: Woodcut of Erfurt in Hartmann Schedel's Nuremberg Chronicles

published in 1493 with hand colouring later applied (Wiki Commons).

Schedel was born in Nuremberg, the son of a merchant, and travelled to

Leipzig when young to study law. By 1463 he moved to Padua to take
up a new profession, medicine, and by 1466 had obtained his medical
degree. He combined this with studies of Grammar, Latin, Greek and
Hebrew. From 1470 Schedel lived in Nordlingen and then Amberg
before finally returning to Nuremberg in the early 1480s to practice
medicine.
Dr. Schedel was a well-known humanist who surrounded himself with a
small group of similar like-minded individuals. For him the rapid
learning of the trivium and quadrivium would have been an extremely
attractive proposition. It is not surprising therefore that Schedel was the
owner of a graphically clear manuscript of Ars Notoria, CLM 276.
His other main passions were that of historian and avid bibliophile. He
was known to have personally hand copied many of the medieval
manuscripts from his personal collection, and by 1470 he had begun to

45
 Ars Notoria

add printed books to his library.

It was thanks to his expanding collection that Schedel was able to use the
information contained in his collection to author the work known in
English as the Nuremberg Chronicles. Its Latin name was Liber
Chronicarum or 'Book of Chronicles/ with a German edition called
Schedelsche Weltchronik ('Schiedel's World Chronicle') being translated
shortly thereafter. Both editions were published in 1493. The book itself
was over 600 pages and covers a vast extent of world history and Biblical
chronology. Although the work was considered unreliable by other
scholars of the time, it did contain illustrations and maps of cities and
countries never before seen in print.
A 1498 inventory of Schedel's library listed around 370 manuscripts and
670 printed books which at that time would have included CLM 276 -
Apollonii flores aurei... Incipit opus operum et scientia scientiarum eo quod in
opera. It is unknown if the components of this particular manuscript
including the Ars Notoria, were already bound together into one volume
when acquired by Schedel, or were later put together by him. Half a
century after his death in 1514, the vast majority of Dr Schedel's
collection was acquired by Duke Albrecht V of Bavaria in 1571.

Albrecht (Albert) V, Duke of Bavaria & CLM 276

Figure 10: Albert V, Duke of Bavaria. Portrait on wood by Hans Mielich, 1545.1

1 Wiki Commons.

46
 Ars Notoria

Figure 11: Bookplate of the Dukes of Bavaria dated 1618 in CLM 276.1

1 Courtesy Bavarian State Library, Munich, Image archive.

47
 Ars Notoria

Born in Munich in 1528 to William IV and his wife Maria, Albert

succeeded as the ruler of Bavaria upon his father's death in 1550. He was
known as "the Magnanimous" for his love of culture, fine arts, and
antiquities.
Albert was given a Catholic Education at Ingolstadt and although little is
recorded of his early life, he would go on to marry Anne of Austria on
the 4th of July 1546, as part of a political arrangement to ease the tensions
between Austria and Bavaria. Anne was a daughter of Ferdinand I, the
Holy Roman Emperor. Together they had seven children.
Four years before his father's death Albert and his father William IV
began the construction of the Renaissance style Dachau Palace, as a royal
residence, a task that would not be completed until 1577.
Albert was a patron of the arts and known as a fanatical collector, not
just of art but of historical antiquities and curiosities. His enormous
wealth enabled him to buy entire collections from such places as Rome,
Egypt and possibly even further abroad. He was renowned for having
purchased for 7000 ducats the Andrea Loredan Collection of Venice
which consisted of "20 bronzes, 2480 medals and coins, 91 marble heads,
43 marble statues, 33 reliefs and 14 various curiosities" this along with
much more would become the basis of the 'Wittelsbach collection of
Greek and Roman antiquities.' The House of Wittelsbach is the royal
family of Bavaria into which Albrecht was born. The Wittelsbach
treasury (located in the Munich Residenz) was founded by Albert to
house the jewels of the Wittelsbach dynasty and his coin collection. His
Egyptian antiquities can now be found in the State Museum of Egyptian
Art located in Munich.
Albert would often call in experts from various fields to aid and advise
him particularly when it involved the construction of a new building for
his expanding collection. He constructed a Kunstkammer or 'Chamber
of Curiosities' to house his collection which would soon outgrow it and
spread to a separate building known as the 'Antiquarium' located in the
Munich Residenz, where the items remained between 1569-1571. This
was thought to have been the most important European gallery of
antiquities in the sixteenth century.
It was in 1558 that Albrecht V used his personal library, which
incorporated many other libraries and collections, to found the Court
Library of the House of Wittelsbach. This would eventually become
known as the Bayerische Staatsbibliothek, or Bavarian State Library,
which is where CLM 276 now resides.

48
 Ars Notoria

Simon Forman & Yah. Var. 34

At 9.45 pm on Saturday
31st of December (New
Year's Eve) in 1552 Simon
Forman was born in the
village of Quidhampton,
Fugglestone St Peter, near
Salisbury, Wiltshire, in
England.
Although loved by his
father, Simon's mother
and his siblings afforded
him very little of their
time. It was recorded that
at the age of six, he had to
sleep in a cot at the foot of
his father's bed, during
which he suffered visions
of rolling mountains and
great raging oceans that
threatened to engulf him,
nearly every night for
three or more years.
From the age of eight,
Figure 12: Simon Forman, astrologer and
Simon Forman received
physician. Oil painting, circa 1900.
his grammar education
(Courtesy of the Wellcome Collection.)
under the tutelage of the
ex-cobbler who turned
minister, then schoolmaster, William Ryddonte. Forman initially
struggled with learning Latin and prayer, and requested that he be no
longer made to attend that class, but for that presumption he promptly
received a beating by Ryddonte. This worked out in Forman's favour,
and because of that discipline he became extremely diligent in his
studies, learning all that he needed to at that time, before moving on to a
public school near Salisbury.
However, Forman was forced to leave school by his mother after the
passing of his father on New Year's Eve 31st December 1563. She would
continue to beat him, and at the tender age of eleven she set him to work

49
 Ars Notoria

both around the home and also to ploughing the fields By the age of 14,
having suffered enough at the hands of his abusive family, Forman
became apprenticed to Mathew Commin of Sarum where he would go
on to learn how to sew, make hosiery, trade in cloth and small wares, oils,
salts and such like, including acquiring some useful apothecary
knowledge. It was during this time that Forman developed a keen sense
of the use of herbs. He remained with his master for around six and a half
years before they parted ways, in part because he wished to return to his
books, but more due to the cruelty and deceit of Mathew Commin's
mistress who attempted to blame him for items she herself had lost.
Forman in turn was the one to administer a beating in retaliation
whereupon she raced back to his master with her tail between her legs.1
After being freed from so many physical and psychological burdens
Forman once again returned to school where he spent every day for
eight weeks studying diligently. However, as he knew very well, he
would not receive any assistance from his mother, and with poverty
looming, he managed to procure a job as a schoolmaster at the priory of
St. Giles, where he taught about 30 or so boys. It was in fact the very
same school which he had also attended at a very early age. After six
months of work, and having saved up enough money, Forman left
school and continued his learning at Magdalen College, Oxford in May
of 1573. He remained there until 12th of September 1574, advancing his
knowledge of both medicine and astrology.
Forman continued to work on and off, supplementing his income by
working as a schoolmaster and tutor. In 1575 he was tutor to a certain
Mr Duke of Ashgrove for a year, then to Duke's son for a further six
months before moving on to other teaching establishments.
In 1583 Forman set up as a physician in Philpot Lane, Westminster,
London. By 1594, with his medical reputation on the increase, he had
taken on a protege, Richard Napier,2 and in 1597 Forman moved his

1 This behaviour was nothing new for Mathew Commin, as he was very aware
of his mistress's disagreeable nature. He once nailed her by her clothes to the
back of a door during one of their many furious arguments.
2 Also known as Dr Richard Sandy (1559-1634). He inherited, upon Forman's
death, all of his manuscripts and papers which apparently did not include Yah.
Var. 34. He in turn bequeathed the collection to his namesake and nephew Sir
Richard Napier. From there Sir Richard Napier's son Thomas Napier eventually
sold his father's estate in 1769 and passed the manuscripts to Elias Ashmole.
They are now part of the Ashmolean collection at the Bodleian Library.

50
 Ars Notoria

practice to Billingsgate intent upon expanding his skill in surgery.

Despite Forman's intentions, he was publicly banned from conducting
any kind of open surgery, or indeed practicing any kind of medicine, by
the Royal College of Surgeons (RSC) who also queried his astrological
knowledge as well as lack of official credentials in the field. This was a
scenario that would be played out over a hundred years later in the life
of Ebenezer Sibley.
As a consequence of his failure to obtain a medical diploma Forman
spent several periods in prison for malpractice, serving 60 weeks on one
occasion, 52 weeks on another in 1580, and again in 1595. In September
of 1596 he was yet again imprisoned when a patient in his care died after
drinking a tonic that he had prepared. But this time he was released in
November that same year. The RCS continued to move against Forman
at every turn. However in time he acquired a number of influential
contacts, and on June
26th 1603 he was finally
granted a license to
practice medicine by
Cambridge University,1
and on the 27th of June
he obtained his MD
from Jesus College.
Although he had been
resolutely resisted by
the establishment when
he wished to be
accredited as a doctor, it
seems that he made
some real progress Figure 13: The frontispiece of John Melton's
with treating the Astrologaster 1620. 'The astrologer's consulting
plague. Whilst most room' depicts a scene very much in keeping with
doctors headed for the the world that Forman lived in where the line
safety of the country between magic and medicine was still very thin.
during the plague years
in London, Forman very bravely stayed and continued to treat victims
of that disease. He records in his diary that he also personally contracted
the plague, but by constantly lancing the boils and keeping them sterile,
plus administering a strong distilled herbal concoction he was able to

1 See Ashmole 1301, now 1763, f. 44

51
 Ars Notoria

cure himself, and went on to use the same methods on other patients.1
He even opined, well ahead of his time, that rats might be one of the
causes or carriers of the plague.
Forman was recorded as having a voracious sexual appetite and his
copious diaries teem with amorous escapades. It is hardly any wonder
that the vast majority of his clients just happened to be female. Indeed, it
was Forman himself who would on various occasions boast about his
conquests in the pages of his diary. This behaviour would continue for the
majority of his life even during his marriages, once in Lambeth on July
29th 1599 to a then seventeen-year-old Anne Baker, (he was forty-seven at
that time), who in turn bore him a son Clement, and again a second time
to a Jane Brown who would ultimately survive him. At his death his
estate was valued at 1,200 pounds, a large sum at that time, which had the
buying power of at least one million pounds in today's money.
One intriguing tale relates to his death. The story goes that his wife
asked him to answer which of them he thought would die first? To
which he replied that she would bury him on the very following
Thursday. He remained in good health over the following days, to the
point where his wife 'twitted' (teased) him about the falseness of his
prophecy. On the Thursday in question, after Forman had finished his
dinner, they both got into his small boat which he proceeded to row
across the Thames to Puddle Dock. Upon reaching halfway across he
suddenly grabbed hold of his chest crying out "an impost, an impost" (a
heart attack) and fell down dead. This was followed immediately by a
very strange storm. Simon Forman died on September 1611 aged 58, and
was buried at St. Mary's Churchyard, Lambeth, London.
Throughout the whole of Forman's tumultuous adult life there appears
to be three constant themes, and these were Forman's obsession with
magic, astrology and medicine. He spent a great deal of his time
studying their techniques and practices, and had contact with the many
likeminded individuals of his day, who including Dr John Dee, who
Forman met on the 26th of July 1604 at the house of a certain Mr Staper.
Forman preferred the necromantic and Solomonic approach to magic
rather than Image magic, and this is certainly confirmed by the multiple
comments and remarks written in his diary:

• 28th May P.M at 30 past 9,1590 - "I wrote a bocke of Nigromanti,

1 He wrote several tracts on the plague including Bodleian Ashmole 208, ff. 110-
35 in 1593, and Ashmole 1436.

52
 Ars Notoria

and I lyved hardly, yet found som small frindes to helpe me

somtymes"
"I entred the cirkell [circle] for nigromanticall spells."

• 22 dai of March 1591 a.m 8. - "We hard [heard] musick at

cirkell."

• 1594 - "I first begane to practice the philosopher's stone and in

the begininge of the yere I made vergin parchment and newe
wrote my bock of magickqe (sic).''
However, it is the diary entry for the year 1600 that is of most
importance for it first provided us with a year for the creation of Yah.
Var. 34. Other entries give the day and month for each of the three
copies he made. The entry for 8th May is as follows:
I wrote out two books of De arte Memoratus1 of Apollonius Niger,
drawn with gold, of the seven liberal sciences...! copied out also
the four books of Stenographia (sic), and divers other books.2
Forman was obviously feeling prosperous as he also wrote in his diary
in that year:
"This summer I had my own picture drawn, and bought my purple
gown, my velvet cap, velvet coat and breeches and a taffeta cloak..."
One of the copies, Yah. Var. 34, eventually found its way into an auction
where it was purchased by Prof. Yahuda in the early 20th century, and
then after his demise left to the National Library of Israel.
Forman did in fact make three manuscript copies of the Ars Notoria. The
second is Trinity 0.9.7 Liber de Arte Memoratiua siue Ars Notoria now
located in Trinity College, Cambridge (see Figure 14). This is a far less
complete copy with less care taken in its creation. It is in a rougher more
rushed style when compared with the writing of Yah. Var. 34, and
contains no illustrations of the notae. It does however have some
interesting additional comments in English.
The other manuscript is Bodleian Library Jones 1. This manuscript is
almost identical in composition and appearance to Yah. Var. 34 and
contains the notae also stunningly adorned with gold leaf.

1 In this context an alternative name for the Ars Notoria.

2 As quoted in Rowse (1974), pp. 296-297. Rowse however transcribed the book title
as Stenographia rather than Trithemius' Steganographia. Forman was interested in
magic, not shorthand.

53
 Ars Notoria

Figure 14: Liber de Arte Memoratiua siue Notoria, f. 93, Trinity 0.9.7, one of
Forman's three copies of the Ars Notoria showing the section on Ars Arithmetical

1 Courtesy of The Master and Fellows of Trinity College, Cambridge.

54
 Ars Notoria

Simon Forman & later Aristocratic Scandals

It was towards the end of Forman's life, and somewhat thereafter, that
rumours of his more covert magical and pharmacological activities came
to light. In one account it was rumoured that he had been contacted by
Lady Frances Howard, the young daughter of Lord Thomas Howard, 1st
Earl of Suffolk, for whom he had previously given astrological readings.
She engaged his services for the purpose of obtaining a potion that
would render her new husband, Robert Devereux the 3rd Earl of Essex,
impotent. She had no
desire for this politically
arranged marriage, and
wished therefore for it
not to be consummated.
From the outside this
arrangement may have
looked successful and
she proclaimed that she
had made every attempt
to 'receive' her husband,
while on the contrary
the Earl of Essex claimed
to have a healthy desire
for women, but just not
her. He went on record
as saying "she reviled
him, and miscalled him,
terming him a cow, and
Figure 15: Scandalous aristocrats: Francis Howard
and her lovers. From top left clockwise - Frances coward, and a beast."
Howard, Countess of Somerset, Robert Devereux, Whatever the case may
3rd Earl of Essex, Robert Carr, 1st Earl of Somerset have been the marriage
and Sir Thomas Overbury. (Wiki Commons.) was indeed eventually
annulled, but not before
she had already fallen in love with Robert Carr, the 1st Earl of Somerset,
a man of considerably better formed features than her then current
husband. This relationship started while the Earl of Essex was away on
one of his many trips.
With the true object of her affection in her sights, she once again turned
to Forman for assistance, for which purpose he reportedly made a wax
figure designed to obtain Carr's full devotion, loyalty and in the end her
eventual marriage to him.

55
 Ars Notoria

It was however unfortunate for her, but probably lucky for Forman, that
during this period Forman died: the year was 1611. In 1613 she did in
fact wed the Earl of Somerset.
Even during her courtship of this new Earl, Countess Howard could not
cease her manipulative actions. Upon discovering that Sir Thomas
Overbury, a close friend and confident of Carr, was greatly opposed to
their relationship, she put into motion a plan, along with her new lover,
to hastily remove him from the situation.
As a result of this Overbury was arrested after refusing to accept the
king's offer of the post of Ambassador to Russia. Offended by this, the
king had Overbury imprisoned in the Tower of London. It was in fact
suggested that it was the Countess Howard and Robert Carr who had
persuaded the king to offer Overbury the post in the first place to get
him out of the way, knowing full well that he may refuse. His arrest did
solve their problem however, as he was no longer able to hinder or
oppose their desire to wed.1
Whatever the case,2 Overbury's loyalty to Carr, or perhaps more
accurately, his frequently voiced opinions about the situation would
ultimately spell his doom. Even after the incarceration of Overbury,
Howard's paranoia and insecurity must have run deep for she began
another plot to slowly poison Overbury by bribing his keeper Richard
Weston, and the administration of white arsenic to food that was
smuggled in for him. The lieutenant of the Tower, Gervase Helwys,
became aware of what was happening and had taken the precaution of
having Overbury's food thereafter prepared in a private kitchen, after
hearing a confession from Weston that he had been bribed by the
Countess to poison Overbury. Helwys however remained silent on this
matter for fear of serious repercussions from the various nobility
involved.
As Overbury was already extremely sick from the initial round of
poisoning, drugs and medical aid was sent to help him. These not
surprisingly remained ineffective against the effects of the arsenic

1 Sir Thomas Overbury had on numerous occasions warned Robert Carr against
marrying the Countess Frances Howard.
2 Alternatively, it was suggested that it was the Earls of Northampton and
Suffolk who planned this manoeuvre as they wished for the annulment of the
current arrangement and were very aware of Overbury's outward political
distain for the Howards. If this were true then how much of Carr's involvement
in this matter is unknown and may have been minimal.

56
 Ars Notoria

(which the attending physicians were not aware of) and he was
prescribed a regular treatment of enemas to help purge his body and
relieve the apparent digestive pain which was not an uncommon
aliment in the prison environment of the time. It was during one of these
treatments that he was administered an enema laced with a fatal dose of
mercury chloride. Because of mercury's other curative uses, it was
ultimately believed that Sir Thomas Overbury had died of the 'Pox.'
This whole scandal came to light after rumours began circulating. One
arose as a result of the deathbed confession of a Yorkshire apothecary's
assistant, who stated that he was paid £20 by the Countess for a variety
of poisons. Another was that the Countess of Shrewsbury, who was
confined permanently in the Tower, had told Secretary of State Sir Ralph
Winwood that people in the Tower were aware of the slow poisoning,
but remained silent.
Either way, if any of these less than palatable and potentially
embarrassing accusations had made their way to the ears of King James I
they might have led to a serious investigation.
Howard had managed to commit her crimes with the help of her
waiting-woman and companion Mrs Anne Turner, a one-time associate,
or possibly student, of Forman who was said to also be somewhat
knowledgeable in the art of poisons.
Anne Turner portrayed herself as a respectable individual but in fact
was a shrewd business woman and the owner of two 'houses of ill-
repute,' one in Paternoster Row and the other in Hammersmith, as well
as having a monopoly on the saffron based yellow starches used for
colouring the fashionable collars and ruffs of that period. It was through
these connections that she could easily have connected Countess
Howard with individuals of a less than reputable nature.
Eleven days after the death of Sir Thomas Overbury the annulment of
Lady Howard's and Robert Devereux marriage was granted on 25
September 1613, helped along by King James I, as Somerset was a
favourite of his. Countess Howard then, without delay, married
Somerset on 26 December 1613.
Two years later the above-mentioned investigation took place with
evidence that eventually lead to the arrest of Anne Turner, her accomplices,
as well as both the Earl and his wife. The investigation and the trial were
presided over by Sir Edward Coke, Lord Chief Justice of the King's Bench,
and Sir Francis Bacon, the king's Attorney General, at the King's request.

57
 Ars Notoria

Turner confessed her crime as a result of the evidence presented against

her and was rebuked by Chief Justice Coke who remarked that she was
guilty of seven sins being "a whore, a bawd, a sorcerer, a witch, a papist,
a felon and a murderer." He also proclaimed that Forman was 'the
Devil/ and on the 15 of November 1615 at Tyburn, Middlesex, Anne
Turner was hanged.1
Helwys' patron at court, Sir Thomas Monson, was arrested for his
involvement, while Helwys himself, Weston and the apothecary James
Franklin were all found guilty of accessory to murder and thereafter
executed. Although her husband proclaimed his innocence, and indeed
there was no proof against him, outside of the accusations of his
involvement in the murder, he was charged with being "an accessory
after the deed" and was found guilty of trying to cover his wife's tracks
by destroying documents and bribery.
Countess Somerset confessed her crimes, and both she and Somerset
were imprisoned in the Tower of London with the Countess being found
guilty of murder and also sentenced to be executed. It came to pass
however that this sentence was rescinded and she was spared death
when they were both granted a pardon by King James in 1622. They
were released from the Tower of London after having been imprisoned
for a period of six years.
The accusations of Forman's involvement with this plot, and indeed the
accounts of his being hired for magical services is tentative at best with
very little evidence presented outside of vaguely written letters, hearsay
and rumour. Regardless of the truth of the matter the result was that
Simon Forman's name was forever thereafter seriously tarnished.
This may seem like an irrelevant digression, but it demonstrates that
Forman was more than just an astrologer and physician. He was
obviously a 'magician for hire,' who would go to some considerable
lengths to satisfy his clients using both his magical and apothecary skills
as needed.

1 Chief Justice Coke upon hearing previous accounts of the sorcery engaged in
by the guilty parties was said to have remarked that Forman is "the Devil and
Anne Turner is his daughter." Rumours had circulated that Anne Turner may
have in fact been Forman's illegitimate child, however this may just have been a
response to the above comment. Coke made sure that Turner was hanged
wearing the starched ruffles she had so fervently promoted "so that the same
might end in shame and detestation."

58
 Ars Notoria

George Wrighte & Yah. Var. 34

George Wrighte was born in 1677, the

son of Sir Nathan Wrighte, of
Brookesby, who was the Lord Keeper
of the Great Seal of England (1654-
1721)1 and his wife Elizabeth Ashby
(1654-1705). He was one of six children.
In 1704 the first George Wright
purchased the Manor House of
Gothurst, along with its sizable
property from the Digby family, for
the sum of £27,000. Unfortunately,
there were three separate George
Wrightes, all of whom resided in or
owned Gothurst Manor. 2 With no
indication of date on the armorial
bookplate we are left with nothing
Figure 16: The armorial bookplate of
but an educated guess as to which of
George Wrighte. (Courtesy of the
the three Wrightes had bought the National Library of Israel).
manuscript, and from whom. In the
probate of the first George Wrighte there seems to be no mention of
books, papers or manuscripts, so the ownership of Yah. Var. 34 looks
likely to fall to his son, or more likely his grandson.
Little is recorded of George Wrighte's life outside of his political career,
however it is known that he was none the less an extremely wealthy
man. Gayhurst (meaning Goats' Wood), was recorded in the Doomsday
book of King William I (1086), and the oldest Tudor parts of the estate
were more than likely built in the 16th century.
Today, externally at least, Gay hurst House is a shining example of
Elizabethan architecture with substantial additions being added to not
only the house but also the grounds by the subsequent owners. The
Wrighte family were residents of Gothurst for three generations.

1 An officer of the English crown charged with matters concerning the Great
Seal. With time this position would become one of the great offices of state.
2 Gothurst Manor, now known as Gayhurst House or Gayhurst Court, is located
a few kilometres north of Milton Keynes, Buckinghamshire.

59
 Ars Notoria

When George Wrighte I died in 1724, ownership passed to his second

eldest son George Wrighte II (1704-1766) who continued to make additions
to the house. He
married and had a
son, George. This
George Wright III
(1734? - 1804) was
the last of the
Wrighte family to
retain ownership
of Gothurst.
George Wright III
married one Anne
Jekyll, significantly
the daughter and
sole heir of Sir
Figure 17: Gothurst (Gayhurst) House, South-east front
Joseph Jekyll.
elevation. Late 16th century.
Jekyll had in turn
inherited, through marriage to Lord Somers's sister Elizabeth, Somers's
massive library of books and rare manuscripts many of which concerned
magic and alchemy, which now resides in the British Library.1
We know that Yah. Var. 34 resided in the collection of George Wrighte of
Gothurst, because the manuscript bears his bookplate, but with no date on
the bookplate we are left with the puzzle as to which George was the
original owner. It is tempting to ponder the thought that perhaps George
Wright III had acquired it, and possibly much more, through his marriage
to Anne Jekyll. Although Joseph Jekyll's library was auctioned in 1740, it
is possible that some manuscripts passed direct to his daughter and from
her to her husband. Of course, this is pure speculation, but an intriguing
and plausible thought none the less.
Their daughter and only child, Anne Barbara Wrighte remained
unmarried leaving no children. Gothurst had remained in the Wrighte
family for just 126 years.
Whatever the case may be, Liber de Arte Memorativa eventually found its
way into the hands of Professor Yahuda via a London auction, and from
there to the National Library of Israel in Jerusalem.

1 For more information see Skinner & Rankine, Practical Angel Magic, SWCM
Vol. 1, London: Golden Hoard, 2006, pp. 43-47.

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 Ars Notoria

Robert Turner and the English translation of the Ars Notoria

Robert Turner (1626-c. 1666) was the translator of the only printed
English version of the Ars Notoria. Ashmole 1515 also has an English
translation, but it is different and remains unpublished.
It was in the parish of Heckfield, Hampshire on July the 29th, 1626 that
Robert Turner was born. The third oldest of six siblings, his father was
recorded as Henry Turner with no mention of his mother's name
although it was more than likely Anne (as both of Robert's sisters were
given this name).
Records of Turner's life are fragmentary at best with the early parish
registers of his home town being destroyed in the Great Fire of 1666. The
majority of what is known today has been extracted from clues left
behind in his own published works and a few remaining brief records. A
classic example of this is his use of the title 'Robert Turner of Holshot,'1 a
self-imposed title used periodically by himself in his works to avoid
confusing his name with others.
Turner is primarily known for his translations of magic and alchemy
texts from Latin, of which the best known are Agrippa's Fourth Book of
Occult Philosophy, published in 1655 and again in 1665,2 and Peter de
Abano's Heptameron, or Magical Elements. These texts were popular when
Turner translated them, and are still well received in the 21st century.
Both A. E. Waite and William Lilly complimented the quality of Turner's
translations.
In Elizabethan Magic3 whose author's name ironically happens to also be
Robert Turner (who should not to be confused with the 17th century
Robert Turner) writes that at the age of sixteen on the 17th of June 1636
Turner began his higher education at Christ's Collage in Cambridge and
successfully matriculated as a 'pensioner' (an undergraduate of a more
well-to-do class who pays for his own tuition). Robin Cousins states,4
that there appears to be no record of Turner's matriculation at either
Oxford or Cambridge Universities, or indeed any record of formal
medical training, and that the records previously supposed to be so are
in fact mistaken, as those records apparently refer instead to Robert

1 A reference to the area in which Turner's family grew up.

2 Re-published by Ibis, 2005.
3 Robert Turner, Elizabethan Magic - The Art of the Magus, Devon: Element, 1989.
4 Ars Notoria - The Notary Art of Solomon. York Beach, Teitan, 2015.

61
 Ars Notoria

Turner of Saffron Walden not Robert of Holshot(t).

From 1650 to 1657 Turner resided in Carpenter's Yard, just south of
Little Britain in London. Little Britain in the 17th Century was the
epicentre of printers and booksellers, a perfect haven for Turner with his
regular need to publish.
Turner would often refer to himself as a Philomath (a lover of learning)
and luckily it was around this very period that Church censorship and
its control of education was dramatically decreasing, allowing for topics
like magic that once would have resulted in imprisonment or possibly
far worse, to be more freely discussed and disseminated publicly. Turner
took full advantage of this period of literary freedom and it was then
that many of his translated texts concerning magic, alchemical,
medicinal and like-minded topics were produced as well as his original
works (see Appendix 5 for details of all his publications).
Although the actual details of Turner's education currently elude us, it
remains clear that he was certainly no fool and a gentleman of
discerning intellect with an ever-enquiring mind. These traits served
him very well during his short lifetime and didn't go unnoticed by his
peers. This recognition was reciprocated by Turner who often dedicated
his books to friends and colleagues.
There is no doubt that Turner's tireless work of translating and
publishing texts pertaining to the occult was of immense value not only
to the readers of his day, but also helped prevent these books
disappearing completely from the shelves. The luxury of literary
freedom during Turner's time would not last forever, and with the
restoration of the ecclesiastical control in 1660, once again, Turner was
forced to abandon his work on translations of magic and focus instead
on matters more medical.
It was during this period of his life that Turner produced what was to
become known as his Magnum Opus, when in 1664 after many years of
literary silence, he finally published the BoravoXoyia, The British
Physician; or, the Nature and Virtues of English Plants. It was a work of
astrological herbalism with almost five hundred herbs, plants and spices
listed in alphabetical order with descriptions as well as a 'Table of
Diseases, and the Plants appropriated to their Cures.'
Unfortunately for many, June of 1665 was the month that the plague
began to run riot through the streets of London. But because of this,
Turner's books on medicine certainly garnered much more attention

62
 Ars Notoria

from the panic-stricken public looking for remedies. It was in this year
that Turner's second edition of The Complete Bone-Setter was also
released. It was also quite successful as it was written in a style which
could be more easily understood by the less educated.
Turner managed to survive the outbreak of plague, not as a result of any
of his imaginative herbal concoctions, but due to the fact that he, along
with the majority of the other upper-class and wealthier populace, fled
to the relative safety of the country-side leaving the sick and poor to
their fate, unlike Forman who stood his ground and stayed in London to
treat his patients. It is recorded that close to 1200 people died in the city
during the week of September 12th, 1665 alone.
As to the actual date of Robert Turner's death, little is known. It is
speculated that he may have died sometime after March 1666 or possibly
in early 1667. There are no mentions of him in the records thereafter, or
indeed any further publications other than reprints.

Figure 18: Robert Turner as he appeared in his book the Botanologia in 1664.

63
 Ars Notoria

Sir Hans Sloane & BL Sloane 1712

Born on the sixteenth of
April 1660 in the village of
Killyleagh,1 Hans Sloane
was the seventh and last
son of Alexander Sloane
and his wife Sarah Hicks.
Hans' brothers in order of
birth before him were
Alexander, Henry, Robert,
John, James, and William,
with no sisters.
The Sloane boys grew up
in a relatively modest
environment, living in a
thatched house located on
Frederick Street very close
to Killyleagh Castle2 and
were raised as Protestants.
Alexander Sloane died in
1666 when Hans was only Figure 19: Portrait of Sir Hans Sloane,
six years old. Being of a attributed to Jonathan Richardson.
very inquisitive mind the (Courtesy of Bonhams)
young Hans Sloane soon
developed an interest in the natural sciences, history, and the curiosities
of the world.
His early schooling was provided thanks to the generous help of the Earl
of Clanbrassil, James Hamilton, due to Alexander Sloane's long
association with the Earl. James Hamilton had by this time acquired the
castle of Killyleagh as well as a great many other estates in east Down.
The castle library was where the Sloane children received most of their
early tuition, and the library was a great asset to the ever growing and
expanding interests of the young boys.

1 On the western shores of Strangford Lough, County Down, Ulster, Northern

Ireland.
2 The house has long since been demolished, however the lintel stone from it
was saved and placed across the street from where it once stood bearing a
plaque to acknowledge the village's most notable figure.

64
 Ars Notoria

Hans Sloane became seriously ill at the age of sixteen with haemoptysis
(coughing up blood) that persisted for three years and as a result he
remained isolated in his room for almost a year. It was during this
period of restriction that Hans Sloane developed a keen interest in
medicine. At the age of nineteen he journeyed to London to pursue this
new interest, along with other natural sciences, studying botany, materia
medica, surgery and pharmacy for a period of four years. From London
Sloane travelled to Paris and Montpellier to continue his studies and
attend further lectures on botany, chemistry, and anatomy before finally
graduating from the University of Orange with his MD in 1683.
In 1685 Sloane returned once again to London where he was promptly
made a Fellow of the prestigious Royal Society, and became a protege of
Thomas Sydenham, a man regarded as the most influential physician in
London at that time. It was from him that Sloane learned the importance
of meticulous clinical observation. Soon thereafter Sloane became a
Fellow of the Royal College of Physicians on April 12th 1687.
Travelling to Jamaica as physician to the second Duke of Albermarle (its
new Governor), Sloane was kept busy with a list of requested natural
history specimens from many individuals including John Ray (1627-
1705)1 and spent not only the three months journey making detailed
observations of the flora and fauna that he witnessed, but continued to
make extensive records for the full fifteen months that he remained
there, including documenting a wide variety of things from earthquakes
to the local customs of the native inhabitants.
He also spent his time amassing a rather substantial collection of 800
new native plants, insects, fish and many other specimens which he
catalogued in Latin in 1696 and later published as a beautifully
illustrated two volume set.
One of the most noteworthy outcomes from his initial trip occurred
when Sloane was offered a drink favoured by Jamaica's local people,
cocoa. Upon trying it Sloane found that the substance made him rather
nauseous, but upon adding milk, it became extremely palatable. This
new concoction would return to England with Sloane where it was first
sold by local apothecaries as a type of medicine. However, by the
ninetieth century Sloane's recipe was being used by Cadburys to
manufacture chocolate.

1 Ray was an English naturalist widely regarded as one of the earliest of the
'parson naturalists.'

65
 Ars Notoria

Figure 20: Milk Chocolate: Sir Hans Sloane teams up with Cadburys to bring
chocolate to the attention of the British public. Note Sloane's Coat of Arms, and
his recommendation that chocolate is possibly of "great use" in tuberculosis cases.

After the death of the Duke of Albemarle, Sloane returned to London in

May 29th 1689 where for a period of four years he continued in the
service of the widowed Duchess, and with her help Sloane built up a
respectable medical practice at his home at No. 3 Bloomsbury Place
London. This practice would cater to some of the most wealthy and
aristocratic patients of the time, including Queen Anne and Kings George
I and II.
In 1694 Sloane became physician to Christ's Hospital and the Foundling
Hospital, and it was in the following year that he married Elizabeth
Langley Rose, daughter of John Langley (a very wealthy city Aiderman),
and widow of Fulke Rose. Fulke was also a physician and early colonist
of Jamaica with large land holdings of around 380 acres and wealthy
sugar plantations. Upon his marriage to the heiress, Sloane inherited not
only the entire estate of John Langley but also one third of all the income
from the sugar plantations in Jamaica.
Sloane was not only known for his professional expertise in many fields
of science and medicine but was also known for his charity. Every
morning he would give free medical advice and treatment to the poor
and needy within his neighbourhood until 10am having the College of
Physicians in Warwick Lane administer the medicines and remedies.
This resulted in a feud with the Society of Apothecaries that led to an
eventual court case to which luckily for Sloane, they lost.

66
 Ars Notoria

Sloane's reputation as a competent physician had grown to such heights

that just after the turn of the century in 1701, he was conferred the
degree of Doctor of Medicine by the University of Oxford. In 1705 he
was elected to the Royal College of Physicians in Edinburgh, and in 1716
was given the title Physician General to the Army and made a Baronet
by King George I (the first physician to have received this hereditary
title). In 1719 he was elected President of the Royal College of
Physicians, a position he kept until 1735 as well as becoming secretary
and eventual President of the Royal Society, taking over from Sir Isaac
Newton.
Throughout this entire time, and indeed for the remainder of his adult
life, Sloane continued his greatest passion adding to his collection of
specimens, books, antiquities and curiosities. Having the financial means
behind him he was able to outbid most competitors and when notable
collections of other collectors came up for sale or auction, he would
acquire them and promptly absorb them into his fast growing and
staggeringly large personal collection. By this stage the sheer volume
had every room and hall of his house completely full with hardly room
to move. Sloane was forced to purchase the adjacent house to
accommodate the increasing strain of his collection. In 1712 Sloane also
purchased the Manor of Chelsea,1 and surrounding farmland, to further
relieve the pressures caused by his compulsive collecting.
Hans Sloane was also noted as being a gracious host. He would hold a
dinner party once a week for his colleagues and friends at his home
where they could enjoy good food and drink and afterwards the rich
pleasures of his personal museum.
At 82 years of age Sloane eventually moved into his Manor house of
Chelsea having retired from medical practice with the wish to live out
the rest of his days there in relative comfort. He moved the entirety of
his collection there stipulating that after his death the collection should
be sold to the nation and not split up as was often the case. By this time,
it contained a truly breath-taking variety of rare and precious items.
Hans Sloane died at the age of 93 on the afternoon of 11th January 1753
having been ill for only three days. He was buried a week later by the
grave of his wife at Chelsea Old Church. The 1753 catalogue of Sloane's
collection/museum listed 117,000 items including:

• 5,439 insects

1 Chelsea Manor was a former residence of King Henry VIII.

67
 Ars Notoria

• 5,843 testacea and other seashells

• 173 starfish
• 32,000+ coins and medals
• 55 mathematical instruments
• 12,000+ examples of plants including a 'herbarium' of 334 volumes
• More than 46,500 books
• 3,516 manuscripts1
• 1,125 items relating to customs and ancient history
• ... and much more.
His will was fully
honoured and the
collection that was his
pride and joy, and
which had literally
taken a lifetime to
amass, was left in its
entirety to King
George II, so that it
may be enjoyed by
the nation as a whole.
This was in return for
a payment of £20,000
that would go to
Sloane's heirs. Sloane Figure 21: Montagu House by James Simon c.
had also stipulated 1715. The original house was destroyed by fire in
that a public museum 1686. The house was rebuilt in 1715 and sold to the
should be built so that British Museum in 1759, and subsequently
the collection could be demolished in the 1840s to make way for a much
properly housed and larger building.
this was also agreed
upon by Parliament, and by way of a national lottery, £100,0002 was
raised for this purpose. Montagu House (in Great Russell Street), was
purchased for this new establishment and just six years after Sir Hans
Sloane's death the foundation of what was to become the British

1 This included the massive collection of manuscripts of Sir Joseph Jekyll (1662-
1738), which he in turn had inherited from Lord Somers (1651-1716). A large
portion of these manuscripts concerned magic, astrology and alchemy.
2 Around £8,000,000 (more than US$10 million) by today's standards.

68
 Ars Notoria

Museum was opened to the public in 1759.

Many of the books and manuscripts from the original Sloane collection,
including all the manuscripts on magic, can now be found in the
collections of the British Library which separated out its holdings of
books and manuscripts from the British Museum and moved from Great
Russell Street to St. Pancras in 1998.
Sloane 1712 found its way into the British Library as part of Sir Hans
Sloane's massive collection, however its provenance before that is
largely unknown. Conjecturally it may have been part of the equally
vast collection of Sir John Somers (1651-1716) a gentleman interested in
experiments in angel magic, particularly in the later years of his life.
After his death a great deal of Somers' collection was inherited by Sir
Joseph Jekyll (1663 - 1738) via his wife Elizabeth (Somers' Sister). Upon
Jekyll's passing they were sold in one of London's biggest library sales
ever recorded for that period by the auctioneer Christopher Cock, Great
Piazza, Covent Garden on 21st January 1740 over a period of 16 days. It
was here that Sir Hans Sloane purchased large portions of the collection
for himself.1
Unfortunately, after going through the available catalogues the Ars
Notoria appears not to be listed amongst the collection of Lord Somers
and as such is more than likely to be missing from the collection of Jekyll
as well. The mystery as to where Hans Sloane acquired Sloane 1712 still
remains just that.
In the Spring 2017 issue (number 35) of the Societas Magica Newsletter,
Laszlo Chardonnens of the English Department of Radboud University
Nijmegen, makes the rather astonishing claim that neither Sir Joseph
Jekyll nor Lord Somers had any interest in practical or theoretical magic
despite a lifelong habit of collecting, preserving and passing on one of
the most complete collections of grimoires in the world. Obviously
neither of these professionals would have advertised their interest in
magic, but the existence of correspondence, in one of the letter box files
in the Harley collection, from and to them about the finer points of
magic practice, confirms that they did indeed have a very real interest in
the techniques recorded in the grimoires that they collected.

1 For more information on Somers, Jekyll and other key individuals see Skinner
& Rankine, Practical Angel Magic of Dr John Dee's Enochian Tables, Singapore:
Golden Hoard, 2004, pp. 43-47.

69
3. The Main Manuscripts
Although there are more than 110 manuscripts of the Ars Notoria listed
in the Bibliography, it is likely that at least another 50 or so are still
hidden in plain sight in libraries around the world, often bound with
other texts or miscatalogued as prayers, or bound in a collection
designated by a generic title such as magica varia, or similar. We have
chosen to focus on a few of the best examples, chosen because of their
age, or their completeness, or the clarity of their notae.
The earliest manuscript is Yale Mellon 1 which is kept in the Beinecke
Library at Yale and dated 1225. We reproduce this manuscript in full in
Chapter 7, and use its notae as thumbnails to illustrate the otherwise
plain text of the English translation in Chapter 8. It is a key text, the
oldest extant, and contains what Veronese refers to as Version A.
The next oldest, Bibliotheque nationale de France Lat. 7152, bears the
clear date 1239. Both these manuscripts have a similar set of notae with
the latter having acquired a further seven notae not present in the Mellon
manuscript, demonstrating that the text had already begun to evolve.
The notae in both manuscripts are very clearly drawn in the same style
with the illustrator trying to show the detail very precisely, like a
technical drawing, rather than simply rendering them as mere
decorative illustrations. The illustrators were probably not the same
person, but the order and selection of the notae is very similar (see Figure
23).
British Library Sloane 1712 (circa 1250) adds a further three notae not
seen in the previous two manuscripts. It is remarkable that to date the
largest number of Ars Notoria manuscripts have been found in British
libraries.
Bayerische Staatsbibliothek CLM 2761 is a beautifully drawn black and
white manuscript with just the titles of the notae rubricated. It adds a
further couple of notae to the growing collection. This volume is a
composite manuscript containing many other separate texts including
geomancies, astrological predictions, etc. It contains one Ars Notoria
dating from the late 14th century (1360-1375), and an early 15th century
copy of John of Morigny's Liber Visionum bound with it.

1 CLM is an abbreviation of Codices Latini Monacensis, literally a manuscript codex

written in Latin and located in Munich, owned by the Bavarian State Library.

71
 Ars Notoria

Bibliotheque nationale de France Lat. 9336 is also from the 14th century.
It comes from the Version B group of manuscripts and is highly
illustrated. It has a few notae in common with the previous four
manuscripts, but provides a further 35 notae. It has also been the object of
most French academic discussion to date, having provided Julian
Veronese with his base text which he identifies as Version B (effectively
Version A plus a commentary). At this point in the development of the
Ars Notoria, images of angels start to adorn the text. It is fairly obvious
that they don't add any extra significance to the notae which were
previously unadorned. It is therefore probable that the additional cross­
bearing angels are a form of insurance added by monks who wished
their labours to be seen as holy, rather than nigromantic.
Arriving at 1600 we find Simon Forman making three copies of the Ars
Notoria, of which the most complete is Israel National Library Yah. Var.
34. Because Forman copied from a 15th century exemplar, his content is
also 15th century but his script is 16th century and much easier to read.
More details about Simon Forman and his work will be found in
Chapter 2. With regards to the notae, their distribution is identical to that
of Bodleian Bodley 951 and Bibliotheque nationale de France Lat. 9336.
Two further Bibliotheque nationale de France manuscripts (Lat. 7153
and Lat. 7154) come from the 16th century. Of these BnF Lat. 7154 is the
most complete. It is obvious that Bibliotheque nationale de France Lat.
7152, 7153 and 7154 originally shared shelf space together. It is often the
case that manuscripts with similar content will have consecutive shelf
numbers from the time when they were part of the same private
collection.1
Two of the manuscripts (BnF Lat. 7154 and BnF Lat. 7153) were written
at the same time 1554, and probably by the same scribe in the same
scriptorium. We considered omitting BnF Lat 7154, but the inclusion of
both manuscripts in Figure 25 is a testament to the amount of care given
to reproducing the notae, underlining the fact that these were not just
illustrations (where some creative license would have been permissible)
but technical drawings.
Bodleian Bodley 951 (15th century) has attracted scholarly comment as it

1 A typical example of this is the Sloane collection in the British Library where
similar manuscripts group together in a way that is often reflected in their
numbering sequence. Subsequent accession policies do not perpetuate this
pattern however.

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 Ars Notoria

was owned by the Canterbury monk Simon Maidstone. It may also have
been the source of Forman's three copies, including Yah. Var. 34,
according to Frank Klaassen.1
Beyond this core collection of manuscripts there are a few manuscripts
which are unique for one reason or another. BL Or. 14759 is a Hebrew
manuscript which has six notae and a few lines of Hebrew, but as
already mentioned, this is most likely to have been a translation out of
Latin, rather than being any indication of Hebrew origins.
The Torino Bibliotheca Nazionale EV. 13 is a late 14th century
manuscript, probably also north Italian in origin, or transalpine. Its notae
diverge from the usual style and are beautifully executed, featuring
snakes and figures with extended arms drawn with an almost 3-D effect,
suggesting a later 15th century dating. It has attracted scholarly
comment by Claire Fanger and Michael Camille, and has been used to
illustrate her volume in the excellent 'Magic in History' series, and so it
has not been again reproduced here. The relevant notae are: First nota of
Grammar - f. 1; Nota of the 'whole faculty of Grammar'- f. 6; Nota of
Arithmetic - f. 21; Nota of Geometry - f. 16v.2
Other notae are reproduced in black and white in the same book, for
example from BnF Lat. 9336, but these are all more easily and better
reproduced in full colour in Chapter 8 of the present volume.
Let us look at some of the manuscripts in detail, taking advantage of the
relevant library catalogue descriptions.

1 Klaassen (2013), p. 231, fn. 13.

2 Fanger, Conjuring Spirits, Pennsylvania: Pennsylvania State UP, 1998, pp. 114,
116,120,122.

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 Ars Notoria

Yale Beinecke, Mellon 1

The structure of this manuscript is as follows:
Flores Aurei f. 1 - 7v
Ars Nova f. 7v - 9v
Novem termini f. 9v -10
The Notae f. lOv - 17v
The method of use f. 18 - 18v

The Yale Library entry for Mellon 1 is as follows:

APOLLONIUS (Tyanensis?)
Ars notoria, sive Flores Aurei
France (or North Italy?), about 1225.
Ars Notoria Version A.
Parchment codex in Latin, 259 x 165, ff. 18 of 20 originally, the last two
(probably blank) cut away; no signatures, no catchwords.
COLLATION: (l)AA10, (2)AA10-2. ff. 1-10, 18, ruled, partly in blind and
partly in ink, portions of remaining leaves also ruled in ink; 2 columns
203 x 133 on ff. 1-10, 18, and occasionally elsewhere, 46 lines to the full
column, no headlines; pricking fully preserved; neatly written in Gothica
Textualis, mostly very regular and small, sometimes minute, in red and
brown inks, with various additions by similar and later hands; frequent
standard abbreviation; capitals in red, blue, or green at paragraph
beginnings, mostly plain, but some with slight extensions, a large capital
in red and blue with green tracery at beginning; rare correction within
the text by the scribe, usually by dotting beneath an incorrect word,
followed by a corrected version; some additions by early hands in spaces
originally blank, some marginal insertions by later hands; diagrams and
drawings in red ink, mostly accompanied by text in brown, often with
the text forming a part of the design, on parts or all of ff. 10v-17v;
parchment of ordinary quality, medium thick, with some holes or
irregular edges, the hair follicles not entirely scraped out and the
surfaces not entirely smoothed.
BINDING: Wrapper, probably modem, consisting of a piece of old
parchment, perhaps cut from the blank portion of a large document with
a fold and some slits, the modern sewing penetrating the back.
PROVENANCE: Early provenance unknown; blue, circular rubber

74
 Ars Notoria

stamp with numerals inside back cover of wrapper, canceled in red,

nineteenth or twentieth century; was item 2, Catalogue XXVI of Joseph
Martini (bookseller), Lugano, about 1935; reoffered by the same,
Catalogue XXIX, 2, and Catalogue XXX (1942), 5; Mellon MS E=142,
acquired from C. A. Stonehill, Inc. (bookseller), New Haven.
CONTENTS
f. Irl, 1: Incipit prohemium, sive exceptiones quas magnus appollonius flores
aureos ad eruditionem et coniunctionem omnium scientiarum... [line 7:]... ab
angelo sapientissimo salomoni.
f. Irl, 9: Ego artium magister mundo [sic] nuncupatus cui liberalium natura quasi
specialiter cessisse videtur. tractaturus de cognitione astronomie sive astrologie.
quibus experimentis artium compendiosa competensque cognitio possit haberi...
Fifteen pages of largely diagrammatic drawings, approximately thirty-
six in all, depending on how their relationships are interpreted (the text
calls for thirty-two), are found from f. lOv to f. 17v, most of them
accompanied by labels and the texts of prayers consisting of long series
of invented names with exotic sounds1 written in a minute hand in
brown ink, while the designs themselves are throughout in red. The text
of the manuscript also includes numerous prayers, some of them
consisting of exotic names. A passage in the text beginning on f. 10r2, 39,
and ending on f. lOvl, 3, perhaps by another contemporary hand and in
larger writing, lists the figures, apparently digesting a longer description
of them in the text beginning on f. 12r2, 3. The passage on f. lOr reads:
f. 10r2, 39: Quinque sunt generates figure. Septum sunt philosophic.
Tres gramatice. Due dialectice. Quattuor rethorice. Quinque theologie.
Vna musice. Vna reprehensiohis et taciturnitatis. Vna ad exceptivas.2
Vna de mirabilibus. Vna iusticie pads et [f. lOvl, 1:] timoris. Vna
inexplicabilis hominibus. et ita sunt in summa .xxx.ii. f. 18v2, 15: Hec
est nota ineffabilis theologie cuius oratio est. Deus totius pietatis. Vt
predictum est capitula. [Paragraph mark.] Incipit septima oratio, et etiam
oratio eins est. Nosel. Vt ibidem paulo post testatur. [Apollonius, Ars
notoria, sive Flores Aurei, TK 485, 489,490.]
SUMMARY: Occasional errors by the scribe, corrected by himself,
suggest that he copied an earlier manuscript of this text, which he had

1 The librarian could not quite bring himself to describe them as notae with verba
ignota.
2 Translations of this, and the following passage, appear in Chapter 3.

75
 Ars Notoria

some difficulty in reading. At foot of folio Iv a contemporary hand has

noted: "Ab primo signo A. usque Ad .b. totum deficit in alio libro." The
signum "A" is present in the text, but "b" has not been found. The
extraordinary diagrammatic drawings in red ink, executed with
considerable precision partly with a compass and ruler, but also
including free elements, complement the puzzling text, in which a direct
approach to knowledge is sought by means of incantation. Also
contributing to the startling effect of the codex is the use of long
passages in brilliant red ink, admirably contrasting with others in
brown, and the simple, well-drawn capitals in red, green, and blue.
Yale Mellon 1 is so unlike commonly seen manuscripts of its period that
it seems reasonable to suggest that both its text and its drawings have
been copied directly from a considerably older manuscript source which
has not been traced in the literature.

Paris, Bibliotheque nationale de France, Lat. 7152

Title: Apollonius, Flores aureos ad eruditionem and cognitionem omnium
scientiarum and naturalium artium [Ars notoria]
Ars Notoria Version A.
Date: 12391
Origin:
Language: Latin
Dimensions:
Foliation: ff. l-22v (ff. llv-22v with full page figures).
Format: Parchment 22 folios each with a border frame containing the
rubricated title of the nota.
Binding:
Contents: Expositiones Apollonii ad cognitionem scientiarum Quas Flores
aureos appellavit.
ff. 1-22. Ars notoria: "Expositiones quas Magister Apollonius Flores aureos ad
eruditionem and cognitionem omnium scientiarum and naturalium artium
generaliter and merito and competenter appellavit. Hoc [opus] Salomonis
Machinei and Euclidii actoritate maxima compositum & probatum est.”

1 The BnF catalogue gives 14th century, Veronese 3rd quarter of the 13th century.

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 Ars Notoria

London, BL Sloane 1712

Sloane 1712, like the Yale Mellon manuscript, is probably one of the
more easily recognisable examples of Ars Notoria, as some of its pages
have been circulating online for several years. This recognition is also
helped by the fact that it is a beautiful example, being subtle and neat in
its execution with simple capitals executed in red and green.
It is written on parchment in gothic Latin in a dual column format. The
manuscript was rebound sometime after the seventeenth century in a
gold-tooled brown full leather bearing the legend 'Bibliotheca
Manuscript Sloaneiana' stamped on the front board.
It contains two separate and distinct versions of the Ars Notoria, an early
version and later expansion called Opus Operum.
Title: Ars Notoria Salomonis
Ars Notoria Version A and Opus Operum.
Date: 12502
Origin: Thought to be of Italian origin with indications of this present
in the style of the script.
Language: Latin
Script: Gothic cursive
Dimensions: 245 x 170mm (175 x 125).
Foliation: ff. 37 (+ 3 paper and 2 original flyleaves at the beginning, and
3 paper flyleaves at the end)
Format: Parchment codex in a dual column format, 35-37 line pages.
Binding: Post-1600. Gold-tooled brown leather; re-backed.
Description: Two texts of the Ars Notoria, consisting of prayers plus sets
of verba ignota, being holy and angelic names, and notae
designed to gain knowledge of subjects by direct revelation.
Provenance: Sir Hans Sloane (1660-1753), baronet, physician, collector.

1 Julien Veronese dates Sloane 1712 at no later than 1250 in his thesis LArs
notoria au Moyen Age et ä l'epoque moderne. Etude d'une tradition de magie theurgique.
It is definitely later than Mellon 1 (1225) as it has an additional 6 notae. Other
(less likely) estimates include 2nd half of the 13th century or 1st half of the 14th.

77
 Ars Notoria

The British Libraries Catalogue lists the content of Sloane 1712 as:
"Two texts of the Ars Notoria, a set of prayers, holy and angelic names,
diagrams and rituals used to gain knowledge and understanding by
supernatural revelation, apparently as granted by God to Solomon.
ff. lr-22r: The Ars Notoria, with the rubric, 'Ars Notoria Salomonis,
Machinei et Euclidis; a text with set of diagrams or notae on a variety of
subjects, including grammar, rhetoric and astronomy. It begins 'Ego
artium magister merito nuncupatur,’ and ends, 'lunationibus et diebus et horis
determinatis.'
ff. 22v-37r: The Opus Operum, with the rubric, 'Ars notoria quae nova ars
appellatur;' a derivative text of the Ars Notoria, ascribed to John of
Morigny (?), including 6 diagrams or notae, on subjects including
dialectic, arithmetic and geometry. It begins, 'Incipit opus operum, scientia,
scientiarum,' and ends, 'et per virorum omnium gratissina et potentissima
suffragia. Amen.'
Decoration: Full-page diagrams in red and brown, some in green, with
figures, symbols, including crosses, and text in circular, rectangular and
geometric shapes (ff. 14v, 15r, 15v, 16v, 17v-22r, 36r-37r). Spaces for
initials and rubrics in red throughout. Spaces left for initials, some with
guide letters.
Description of the diagrams or notae.
ff. 14v-15v: Prima nota, secunda nota et tertia nota artis gramatice
ff. 16v, 17v: Prima nota et secunda nota artis dialectice
ff. 18r-19r (left column): Prima, nota secunda nota, tertia nota, et iiii nota
artis rethorice.
f. 19r (right column): Nota geometric.
ff. 19v-21v: Geometric diagrams and symbols, including faces of hybrid
creatures (f. 20r). [Actually the inverted Medusa heads].
f. 22r: Nota in ineffabilis et est V theologie, or the fifth figure of theology,
with symbols including swords, birds and serpents, used to
attain theological knowledge.
f. 36r: Nota gramatice
f. 36v: Notae dilectice, rethorice and aritmetice
f. 37r: Nota geometrie and signifier circulus."

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 Ars Notoria

Munich, Bayerische Staatsbibliothek, CLM 276

Title: Apollonii Flores AureL.Incipit opus operum et scientia scientiarum eo
quod in opera. Ars Notoria Version A and Opus Operum.
Date: c. 1350. Includes multiple items ranging in date 14th-15th century.
Origin: Germany
Authors: Apollonius; John of Morigny; [of other items:] Galen; Augustine
of Trent; Nicolaus Cusanus.
Language: Latin, German.
Scribe: Several hands, one of which copied f. 1-67, and another
[Chonradus Wernshover] f. 75r-86v, 91v-92v, 96r, 97r-99r, lOOv-lllv,
113r-128r and 144r-147v. The Ptolemaic sections were copied by
Wernshover (?), cf. colophon f. 86v below and f. 80v: 'Scriptus a
Ch[onrad]o W[er]nshov[er] anno 1350/
Material: Paper (except f. 69-74 and 100 on parchment), 161 folios.
Contents: Magic, astrology, geomancy, alchemy and medicine.
Apollonius, Flores Aurei (lr-39r); Ars notoria (39v-47v); John of
Morigny, Liber visionum beate Marie (48r-67r); magical recipes (68r); Si
quis per artem geomanticam... (69r-73r); chapter index of a work of
geomancy 'Capitula geomancie in 12 inquisitionibus secundum 12 domorum
mansionem artis astronomic. De qualitate status. De vita hominis...' (73r); list
of chapters of another (?) work of geomancy (73v-73v); magical diagram
(74r); Galen, De flebotomia (75r-75v); Galen, Secreta (76r-80v); Galen, De
voce et anhelitu (81r-82r); onomancy 'Nota de egris utrum convalescat vel
moriatur...' (82r-82v); Ptolemaica (83r-86v and 86v); Augustine of Trent,
prognostication for 1340 (87r-91r); magical recipes (91v-92v); 'Geomancia
est vaticinacio terrenorum et astrorum sive ex stellarum cognitione...' (93r-
95v); drawing of a [geomantic] zodiac man (95v); two revolution
horoscopes for 1340 (96r, cf. 87r-91r above); alphabets (96v); 'Modus
levandi artem geomancie est brevis et facilis...' (97r-99r); notes of geomancy
(lOOv); alchemical texts and notes, partly in German (101r-143r); list of
plants, alphabetical (144r-147v); Nicolaus Cusanus, prognostication for
1433 (148r-156v); list of pharmacological products (157r-157v); recipes
(158r-159v); 'Circa mineralia Avicenne. Istius libri quatuor sunt cause sicut
cuiuslibet alterius...' (160r-161r). Blank: 67v, 68v, 74v, 99v, 143v.
Provenance: Hartmann Schedel, who copied both Ptolemaic sections
from this MS into Munich, BSB, CLM 275; Munich, library of the Dukes
of Bavaria.

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 Ars Notoria

Paris, Bibliotheque nationale de France Lat. 9336

Title: Sacratissima ars notoria.
Ars Notoria Version B.
Date: 1360-1375.1
Origin: Bologna.
Language: Latin.
Script:
Dimensions: 435 x 290 mm.
Foliation: ff. 1-29.
Format: manuscript. Large folio, with a four-column framed format.
Binding: Reused calfskin binder on red skin with the figure of Louis
XVIII, [Lefebvre] July 29,1819.
Description: "It deals with the invocation of angels, and ways to
discover the secrets and learn sciences from this invocation."
Reference: cf. BnF Department of Manuscripts, Modern Archives 624.
Web location: https://gallica.bnf.fr/ark:/12148/btvlb525108283
Catalog notice: http://archivesetmanuscrits.bnf.fr/ark:/12148/cc77378q
Acquisition: Acquired in Fructidor year VII (August-September 1799),
handed over to the Department of Manuscripts by the citizen Van Praet
towards the end of the year VII and placed under the fund of La
Valiere; cf. Bibliotheque nationale de France, Department of Manuscripts,
Modern Archives 492, Procurement Register of the Department of
Manuscripts Year II - year XIV (1793-1805).

1 Veronese dates it to 2nd quarter of 14th century.

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 Ars Notoria

Jerusalem, National Library of Israel, Yah. Var. 34.

This manuscript is certainly a very beautiful work with its folios written
in neat Latin between ruled borders with rubricated drop caps. The notae
are particularly good examples that are further enhanced by the use of
gold leaf adding to the work's already 'angelic' nature.
The National Library of Israel (NLI) catalogue description of Yah. Var.
34 is incorporated below.
Title: Liber de Arte Memorativa sive Ars Notoria.1
Ars Notoria Version B.
Date: 1600, 24th June.
Origin: London.
Language: Latin.
Scribe: Simon Forman.
Dimensions: 520 x 434 mm.
Foliation & Margins: ff. l-31v. 40, 52,18, 44 mm. Bounding lines: 2, 2, 2,
2 vert., 2 and 2 hor. in red ink. Text space 426 x 368 mm. 3 cols., 94 lines,
written in brown, one hand. Two foliations. First is original, in red and
brown ink. Second foliation is modern. Some pages are paginated.
Catchwords.
Collation: 12 first is used as pastedown, ILVII4 4 is partly torn away,
VIII4 last is used as pastedown.
Format: manuscript consisting of 34 folios of a "thick brownish
parchment."
Binding: sewn on 5 thongs in an original "yellow limp dirty" cover that
measures 520 x 437mm. Certain leaves from an unidentified musical
manuscript can be seen within the binding itself.2
Decoration: 35 illustrations in 3A of page. 3-6-line red initials, rubrics.

1 Not to be confused with Ars Memorativa by Gulielmi Leporei Avallonensis

(William the Hare of Avalon?) printed in 1520 & 1523.
2 This would seem to have been a common occurrence at one point as there are
numerous examples of manuscripts in other libraries relating to magic with
binding that partly or fully contains what appear to be discarded leaves from an
unrelated musical manuscript.

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 Ars Notoria

Provenance: Yah. Var. 34 once belonged to Simon Forman, and indeed it

was written and signed by him with a clear signature on ft. 10, 29, being
one of three copies of the Ars Notoria he created in the same year.
No information can be traced as to the journey the manuscript
underwent after its initial creation, but it no doubt passed through many
hands before it found its way into the library of George Wrighte of
Gothurst centuries later (see Chapter 2).
The manuscript of the Ars Notoria, kept within the special collections
archive of the NLI, is one of the more remarkable examples of this work.
This is not surprising as this library has managed to gather a truly
fascinating collection of rare books and manuscripts that not only cover
Jewish, Islamic and Middle-Eastern Studies, but encompasses examples
of works from all over the globe.
One of the more important sections of the NLI collection, at least as far
as this work is concerned are the rare documents and manuscripts
bearing the shelf mark of 'Yah. Var.' indicating that they are part of the
Yahuda collection.
As a fanatical collector of rare books and manuscripts, Professor
Abraham Shalom Yahuda1 amassed a substantial collection in his
lifetime with works specializing in various aspects of religion,
philosophy, alchemy, and of course magic. His collection also contained
a rather splendid collection of the original writings and manuscripts of
Sir Isaac Newton on alchemy, prophecy, religion, magic and allied
subjects which he procured at auction during one of his many trips to
London in the 1930s.
After his death in 1951, the entire collection was eventually donated to
the National Library of Israel, which included this copy of Liber de Arte
Memorativa where it now currently resides.
This manuscript was a copy made by Simon Forman, possibly from
Bodley 951, who copied it at least three times between 1600-1603. These
copies include Oxford, Bodleian Jones 12 and Cambridge, Trinity 0.9.7
(see Figure 14). The Trinity College manuscript (written on paper) was
part of the Gale collection, given to Trinity College by Roger Gale in
1738.

1 For more information on Professor Yahuda see Skinner & Clark, The Clavis or
Key to Unlock the Mysteries of Magic, Singapore: Golden Hoard, 2018, pp. 325-326.
2 See one illustration from this manuscript in Kassell's Medicine and Magic in
Elizabethan London, 2005, p. 219.

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 Ars Notoria

Forman's colophons to Yah. Var. 34 read:

f. 21. This booke and al the figures and signs therin contained as
youe here find yt was drawen out & written according to the old
coppie by Simon Forman gentleman and d[octor] of physick with
his own hand 1600 Anno Eliz[abeth] 24 June.
f. 29. Finis 1600 p[er] Simonem Forman.
Lauren Kassell asserts that Yah. Var. 34 was the third copy made by
Forman. She asserts that the two other copies were drafts, and that Yah.
Var. 34 was the final copy. It was certainly the most beautiful of the
three, and Kassell adds that "it was probably the most similar to the
parent text."
The suggestion that the other two copies were drafts is however not
supported by the dating. Yah. Var. 34 was written on 24th June 1600. The
copy now at Trinity College has no illustrations and is dated 28th June
1600. The copy of the text which is now Bodleian Jones 1 was written
over a period of time between 1600-1603. It therefore seems more
reasonable to suggest that Yah. Var. 34 was 'the finished article' but that
the other two copies were expansions of the text made afterwards for his
own practice, rather than drafts, as they both contain additional notes.
The Trinity copy also contains a gloss in English, and a number of
prayers copied from other sources. Forman's additions are not
philosophical but solely practical, attesting to him having probably used
the system.

83
 Ars Notoria

Cambridge, Trinity 0.9.7

Title: Liber de Arte Memoratiua siue notoria.1
Ars Notoria Version B.
Date: 1600, 28 Junii hora p.m. at 8.
Origin: London.
Author: Simon Forman.
Language: Latin.
Scribe: On p.106 is the colophon: finis orationum per Simonem Forman.
Dimensions: 29 x 20.5 cm.
Foliation: 118 pp. pp. 7-114.
Format: Paper.
Contents:
f.l Prol. In nomine s. trinitatis et indiuidue unitatis et in principio operationis
istius sacratissimae artis notorie inuocato nomine altissimi creatoris, etc.
f.3 Prologus per Sallomonem.
In nomine Sancte et Indiuid. Trinitatis.
Inc. sanctissima Ars notoria cpiam Creator altissimus per Angelum suum super
altare templi quoclam modo Salomoni dum oraret ministrans.
The greater part of the book consists of prayers which are usually
collections of Hebrew or Greek names, or imitations thereof; e.g. p. 52:
Elystemaht hacaram hemel Sadoc Ghesu heloy Camaraz Coma Jetromaym Theos
Deus pie etfortis hamathaz al Jecronamay etc.
The rubrics are often in English. An Index of the Prayers follows the text.
In his diary for 1600, Forman mentions that he had copied the two books
of Apollonius Niger, Liber de Arte Memoratus/Memorativa. This manuscript
is one of the copies he refers to.
It is probable that Forman actually experimented with the method, and
later sold the manuscripts (as they do not appear in the list of books and
manuscripts recorded at his death).

1 Not to be confused with Ars Memorativa by Gulielmi Leporei Avallonensis

(William the Hare of Avalon) printed in 1520 & 1523.

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 Ars Notoria

Turin National University Library, E.V.13

Title: Notae artium liberalium (Ars Notoria)
Ars Notoria Version A.
Date: 13th century (third quarter).
Origin: Transalpine or Northern Italy. Veronese suggests that it presents,
in spite of its current location, all the iconographic characteristics of a
manuscript made in Oxford in the course of the years 1250-1260, from,
without doubt, an Italian model.
Language: Latin.
Scribe:
Dimensions: 37 ff, 210 x 160 mm.
Foliation: ff. l-31v. Preserved in a codex consisting of thirty-two folios
on parchment 206/215 x 170 mm.1
Format: conventionally arranged in two columns of 31 lines.
Binding:
Provenance/References: Great Gallery Sources: Machet 1713, column 31,
n. 108; Pasini, 1749, lat. 1070; Sorbel-li, Cosentini, 1922, n. 753; Segre
Montel 1980, sheet 151, p. 130.
Description:
The notae contained within the Torino MS of Ars Notoria at first glance
appear unique: they are certainly more interesting than some of the
other manuscripts. It employs angelic characters paired with classical
beasts of Christian mythology and gargoyle-like figures, rings and
snakes. It may even be a little more 'demonic' in nature than other
examples. Most of the animals are drawn from the well-known symbolic
animals of the four evangelists: Matthew (man), Mark (lion), Luke (ox)
and John (eagle). Other animals, like the snake, are part of the interlacing
system.
The manuscript has suffered from water damage as a direct result of the
attempts to extinguish a devastating fire that broke out in the Library in
1904 which in turn destroyed thousands of books and rare manuscripts.
It is believed that three different scribes worked on its creation with two

1 According to Veronese (2007), p. 32.

85
 Ars Notoria

unknown hands in the thirteenth century that copied the main part of
the text consisting of ff.l-30v and a third hand from the end of the 13th
century or start of the 14th century, who recopied prayers on ff. 31r-31v
at the very end as well as adding annotations to the margins.
Clara Silvia Roero1 describes the manuscript as "a codex containing a
treatise on the liberal arts, which follows the classical Greek tradition
that constituted the corpus of disciplines to be taught in schools during
the Middle Ages and the Renaissance. The manuscript is written in
figurative schemes [i.e. the notae], outlined in a precise way, whose
outline, in red ink, is represented by circles, sometimes concentric, and
other geometrical figures obtained with ruler and compass, which
enclose the written text. Masks, zoomorphic bust, animals, monsters and
human figures separate different written figures, arranged
harmoniously on the page. Symbols and religious subjects are also
present on some folios. Among the arts included we can recognise:
grammar (ff. 2v-6v), dialectic (ff. 7r-8v), logic (f. 16r), rhetoric (ff. 17v-
19r), geometry (f 16v), arithmetic (ff. 20v-21r) and medicine (ff. 22r-23r).
The Latin is sometimes intertwined with Greek and Hebrew terms. For
example, on f. 16v is a nota for the art of geometry. In the lower part, in
the form of a semicircle, is enclosed the inscription: "Figurarum alia
rotunda, alia quadrangola, alia pentagona, alia esagona, alia octagona, etc." and
to it are connected, in rays, ten geometrical figures with their names,
arranged along the outer circular arc. Starting from the left we read
“tinea, triangulum, tetrangulum, pentagonum, exagonum, rotunda, octagonum,
medietas circuit, quarta pars circuit..” Instead of the pentagon however, the
pentagram is depicted, and for the hexagon and the octagon the author
represents only segments of those figures. “
Another reason for not reproducing this manuscript is that it has many
gaps in its notae, including the first four of the five figures of Theology,
the seven figures of Philosophy, five General figures, the figure of
Music, the figure of Physic, and the figure of Justice, peace and awe.
Folio 23 gives instructions for the use of the Sphere of Petosiris for
determining if a sick man will live or not. Although references to
Petosiris occur in the Middle Ages, this has its origin back in Graeco­
Egyptian magic. 2

1 Review by Clara Silvia Roero in II Teatro di Tutte le Scienze e le Arti, p. 86.

2 Petosiris, called Ankhefenkhons, was the high priest of Thoth at Hermopolis.
He lived in the second half of the 4th century BCE.

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4. The Notae
Quantity of Notae
Among the early manuscripts, the total number of notae ranges from 35
(Mellon 1) to 41 (BL Sloane 1712) and does not range any higher. The
subject range of the notae is also fairly consistent from one manuscript to
the next.
For example, Mellon 1, f. 10 lists its notae as:
Quinque sunt generates figure. Septum sunt philosophie. Tres gramatice.
Due dialectice. Quattuor rethorice. Quinque theologie. Vna musice. Vna
reprehensionis et taciturnitatis.1 Vna ad exceptivas. Vna de mirabilibus.
Vna iustitie pads et [f. lOv] timoris.2 Vna inexplicabilis hominibus,3 et
ita sunt in summa .xxx.ij.
In summary the translation of this list is:
General 5notae
Philosophy 7
Grammar 3
Dialectic (Logic) 2
Rhetoric 4
Theology 5
Music 1
Self-Mastery & Silence11
Exceptives (magic, etc.) 1
Wonders & Marvels 1
Justice, Peace & Awe 1
Ineffable Theology 1

In total 32 notae
In actuality the count of notae in Mellon 1 is slightly different from its
own tally, with the omission of the last item, and the addition of 1
Medicine, 2 Arithmetic and 1 Geometry notae, the actual count becomes:

1 Figure reprehensionis et taciturnitatis meaning 'reprehension and taciturnity.'

2 Figure justice et peds et timoris (Justice, peace and awe). Some commentators have
translated timoris as 'fear' but this actually refers to the 'fear of God,' considered a
virtue by Christians. But 'awe of God' more correctly conveys the meaning, in the
original sense of 'awe/ rather than the modern use of the word in 'awesome.'
3 Inexplicebilis hominibus, literally 'unspeakable by man,' but actually indicating a
note of 'ineffable Theology' as one that cannot be spoken about.

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 Ars Notoria

General 5 notae
Philosophy 7
Grammar 3
Dialectic (Logic) 2
Rhetoric 4
Theology 5
Music 1
Self-mastery & Silence 1
Exceptives (magic, etc.) 1
Wonders & Marvels 1
Justice, Peace & Awe 1
Physic (Medicine) 1
Arithmetic 2
Geometry 1

In total 35 notae
In other manuscripts a few more categories arise, such as a nota to help
monks with their problems with chastity. When counting across all
manuscripts here examined, a total of 83 variant designs are found (see
Figure 23, the Compendium and Distribution of Notae). It is obvious that
variant forms were generated as the text evolved and was copied and
recopied over centuries from the early 13th century onwards. The total
count including all variants as shown in Figure 23 is:
General 10 notae variants
Philosophy 14
Grammar 5
Dialectic (Logic) 7
Rhetoric 6
Theology 11
Music 2
Self-mastery & Silence 2
Exceptives (magic, etc) 1
Wonders & Marvels 1
Justice, Peace and Awe 2
Geometry 5
Arithmetic 5
Physic (Medicine) 3
Astronomy 8
Chastity 1

88
 Ars Notoria

Analysis of the Notae

The unique keys to the procedure of the Ars Notoria are the beautiful
notae. Sadly, all printed editions, and many manuscript versions of
the Ars Notoria are missing these essential ingredients. Many of the
notae are abstract, but others are like summary sheets for the subject.
For example, one nota of Grammar shows the 8 parts of speech in
circles, another nota of Dialectic shows 9 boxes containing parts of
speech,1 and one nota of Geometry shows the line, triangle, square,
pentagram, six-pointed star, and circle figures in order.2
In some of the later manuscripts there is a scattering of angel figures, but
it becomes obvious that these figures of angels are mostly decorative,
and that they are more a function of design than usage. It might even be
argued that they are included as a kind of insurance against
ecclesiastical authorities misinterpreting the nature of the manuscript as
demonic rather than holy, and subsequently condemning it.3

Notae Numbering
The Notae are not uniquely numbered in any manuscript.4 We have
therefore instituted a numbering system so that notae can be compared
between manuscripts (see Appendix 0). This system of numbering began
with a basic breakdown by subject, and then progressed forward as
successive later manuscripts were examined and each new or variant
notae found. Accordingly we can simply speak, for example, of nota 52
which appears on the cover, rather than "the Fifth Theology nota in
Mellon 1" and then further appending the folio numbers of all of the
other manuscripts it appears in. This numbering therefore uniquely
identifies a specific nota version. By reference to Figure 25, you can see
the folio numbers where this nota appears in every one of the key
manuscripts. It is hoped that further scholarly work on the Ars Notoria
will retain this method of reference to newly discovered notae for
backwards compatibility, rather than 're-inventing the wheel' each time.
See Appendix 0 for a numerical listing of all of the notae and their
variants as found in the manuscripts here considered.

1 Sloane 1712, f. 36 and BnF Lat. 9336, f. 19v, respectively.

2 Turin E.V.13.
3 The early manuscripts do not have these supernumerary angels at all.
4 Mellon 1 has a tentative partial alphabetical 'numbering' of some of its notae
(see ff. 15-16v where the notae are numbered G-Z) but this is not consistently
applied throughout.

89
 Ars Notoria

Figure 22: A variant form of the Second nota of Rhetoric from the 14th century.1

1 Codex 221, f. Iv. Courtesy of the Augustinian Canonry, Klosterneuburg Library.

90
 Ars Notoria

Variant Forms
One of the more curious nota is the 2nd nota of Rhetoric. This appears
sometimes as one nota, and sometimes as two. The CLM 276 version
even has the two parts appearing on different pages. We have uniformly
treated it as one nota. This particular nota also developed various
'mutant' forms. One such example of this is shown in Figure 22.
After inspecting Figure 24 which lays out the notae according to subject,
it will be seen that the notae forms for almost all subjects change
gradually over time, but also more radically at one particular point (after
CLM 276 in Table 23). For example the 1st General nota prior to 1360
takes the form of nota 56, but after that date it takes the form of nota 68.
This phenomenon can be seen in many cases.1 This suggests that
something occurred at this point in time. On the basis of the variant
designs of the notae, the manuscripts can be divided into two clear groups
(on either side of an approximately 1360 divide):
Group 1: Mellon 1 BnFLat7152 BL Sloane 1712 CLM 276
Group 2: BnF Lat. 9336 Yah. Var. 34 BnF Lat 7154 BnF Lat 7153
This change appears to correspond with the development from Version A
and to Version B and Opus Operum.

Inspection of the Notae

The term 'inspection' is applied to the process of looking at the notae.
The Latin phrase is inspectionis notarum. The Latin word inspecto (which
has a Harry Potter ring to it) is the intensive of inspicio which in turn
relates to the word speculum. This suggests that the process of inspecting
the notae may be likened to gazing intently at a crystal ball or black
mirror, whilst murmuring the prayers and verba ignota.
Here we can see a parallel with the procedure of using a skrying stone or
speculum, allied with an evocation. The suggestion is that angels (or
maybe demons) will then supply the necessary knowledge. This
knowledge will be acquired directly without the arduous task of copying
down such communications letter by letter as it would have been the
case in skrying experiments, such as those undertaken by Dee and
Kelley.

1 The few examples of it not changing are: the 3rd nota of Arithmetic; the 2nd and
3rd notae of Grammar; the 5th nota of Philosophy; the 1st and 2nd notae of Rhetoric.

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 Ars Notoria

Conflicts in Attribution
Some notae appear with differing and maybe incorrect titles in CLM 276.
For example the nota which appears on f. 16 - b as the 6th nota of
Philosophy. In the three other manuscripts it appears in, it is the 1st nota
of Theology,1 so we have accordingly adopted the latter title (1st nota of
Theology) in the analysis.
Also in CLM 276 the nota marked quarta nota theologie, which refers to its
fourfold nature, is obviously the 5th nota o/Theology, not the 4th nota. BnF
Lat. 9336 attributes one figure (f. 27v - a) to 2nd Philosophy whilst all
other sources attribute this same nota as 1st Philosophy.
Another dilemma presents itself in the form of the 2nd and 3rd notae of
Rhetoric (ID 14). In MSS Yale Mellon 1, f. 13v; BnF Lat. 9336, f. 23; and
Yah Vah 34, f. 12v the two notae are closely merged. In BnF Lat. 7152;
Sloane 1712; and CLM 276 the two notae appear separate, even
appearing on different pages in CLM 276. So there is a case for
identifying this as two notae (2nd Rhetoric and 3rd Rhetoric). However
BnF Lat. 9336, f. 23v also has a distinctly different 3rd Rhetoric nota (ID
15), as does Yah Vah 34, f. 14; Bodley 951, f. 12v; BnF Lat 7154, f. 72; and
BnF Lat 7153, p. 8. Therefore we have to identify ID 14 as 2nd Rhetoric
(which is sometimes split into two elements) and ID 15 as 3rd Rhetoric.
CLM 276, f. 17v - a, captions the illustration as "nota de celo siderum,"
Heaven Stars, suggesting that it is an Astrology nota (as ID 25), which is
later confirmed in Version B. But in other Version A manuscripts it is
marked as 5th General (ID 61) and so has been listed as such here.
Otherwise the subject labels are consistent across manuscripts.

1 Mellon 1, f. 17 - a; BnF Lat. 7152, f. 20v - d; BL Sloane 1712, f. 21 - d. The last

two are clearly marked ejusdem (The same') immediately following a very clear
First nota of Theology.

92
 5. Compendium and Distribution of the Notae

The manuscripts are listed in chronological order. Dating is taken

primarily from Veronese (2007),1 but also from the relevant library
catalogues. MS Yah. Var. 34 is shown as “1400-1500 --> 1600"
because, although it was written in 1600, it was copied from a 15th
century manuscript (Bodley 951) and so its content is effectively
15th century.
The first table (Figure 23) is designed to show how new notae were
introduced successively in manuscripts, and how the list of notae
gets increasingly longer as we move forward chronologically.
The second table (Figure 24) shows the same information but
grouped according to subject. Where there is more than one nota
per manuscript folio, lower case letters, a, b, c, etc. have been used
to show position on the page. In every case this progresses from
the top down, beginning at the top left corner.
The only exception is Mellon 1 where the original scribe has
identified individual notae with letters g...z but only on folios 15-
16v, in which case we have adopted his lettering.

1 Veronese (2007), pp. 297-298.

93
 Figure 23: Compendium and manuscript Distribution of the N otae with their folio locations in key manuscripts of the Ars N otoria.

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2
B n F L at

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.

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 Ars Notoria

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c
B n F L at

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kD
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p .5
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 Ars Notoria

Id SN B L S loan e B n F Lat. B n F Lat B n F Łat

S u b ject M ellon 1 B n F L at 7152 C L M 276 Y ah . V ah 34 B od ley 951
1712 9336 7154 7153

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3
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B n F Lat

c
B n F Lat

3
ira

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A stron om y f . 24v - a f. 15v - a f. 14v - a f. 79 p. 15

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A stron om y f. 24 v - b f. 15v - b f. 14v - b f. 79v p. 16

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f 22v - b
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 Ars Notoria

B L Sloane B n F Lat.

3
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1712 Y ah , V ah 34 B od ley 951
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 Ars Notoria

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B L Sloane B n F Lat.

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 Tabular Analysis of the Notae
Figure 25: Historical development of the notae in key manuscripts. In order to appreciate
the various forms taken by the notae we have inserted thumbnails of notae from various
manuscripts, so their development over time, from one manuscript to another, can be
seen. In Chapters 6 and 8 the notae of five of these manuscripts are shown in full. Blank
spaces indicate that a manuscript does not have that particular nota.

S
Id Subject Yale Mellon 1 BnF Lat 7152 BL Sloane 1712 CLM 276 BnF Lat. 9336 Yar Vah 34
N

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1600
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102
 Ars Notoria

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N

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16 4 Rhetoric 5ft .1

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-
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34 2 Philosophy

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f.i; - c f. 18 v - a f 19v - d f. 14v - a

103
Ars Notoria

BL Sloane 1712 CLM 276 BnF Lat. 9336 Yar Vah 34

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104
 Ars Notoria

S
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N

58 3 General
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110
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116
6. Method of Use and Practical Considerations
The story of John of Morigny's terrifying dreams are not the only
indication of the power and dangers of using the Ars Notoria without
adequate preparation. In fact, one such example is quoted in the book
itself.
For this Oration is such a mystery, as King Solomon himself
witnesseth, that a Servant of his House having found this book by
chance, and being too much overcome with Wine in the Company
of a Woman, he presumptuously read it; but before he had
finished a part thereof, he was stricken dumb, blind and lame, and
his Memory taken from him; so he continued to the day of his
death: and in the hour of his death, he spoke and said, that four
Angels which he had offended in presumptuous reading so sacred
a mystery, were the daily keepers and afflicters, one of his
Memory, another of his speech, a third of his sight, and the fourth
of his hearing.1
The practitioner is therefore advised to work through the prayers and
procedures in a careful and systematic manner. Ars Notoria is however
not systematically laid out. Even after Turner's text has been
reorganised, there are still a number of gaps: some subjects, like
philosophy, are supplied with prayers, invocations (the paragraphs of
verba ignota) and six notae, while other subjects, like music, are hardly
mentioned at all. It has to be admitted that this is not a beginner's book.
On the positive side, the method is simple and it does not require a
special place to work, or pre-consecrated equipment, as does Solomonic
evocatory magic. The essence of the operation can be simply expressed
as the invocation of angels to induce the knowledge of specific subjects
and improve the capacity and speed of the memory and understanding.
The ingredients are: a regular cycle of prayers, orations (probably the
names of angels or demons) to be spoken whilst concentrating on the
appropriate notae. This is prefaced by an initial rite used to call the angels
and to get their approval to proceed, usually vouchsafed in a dream.
This edition brings the Ars Notaria out of the monastic shadows of the
Middle Ages, providing access to never before seen notae. No less than
five complete sets of notae have been provided from five early

1 Section 57.

117
 Ars Notoria

manuscripts. From a practical point of view one simply needs to choose

one set and stick with it. There is enough material here to make a
workable system, and early experiments have produced some promising
results. In this volume, however the reader will not be hand-held every
step of the way, but by examining the examples and pairing the correct
prayer and oration sequence with the correct notae, with the correct
timing, specific operations can be easily assembled and performed.1
Before you begin you should have an actual subject in mind that you really
wish to master, before trying it out: don't frivolously stir up the angels
without a real purpose in mind. Achieving eloquence or the ability to argue
effectively (Dialectic) might be one worthwhile 21st century goal. Learning
Latin (paired with the Grammar notae) might interest those with more
traditional interests. Using the system to absorb mathematics, music or
medicine might also be useful objectives. Experiments with the Exceptives
should be delayed till proficiency is achieved with other subjects.

Summary of the Ritual Structure - Preparation 2

The full ritual takes four lunar months, but subsets for learning
particular subjects will take less time, maybe just a month.
Preparation takes 15 days. There is first an operation to determine if the
practitioner is worthy. This testing is rather like an initiation, but one
imposed by the angels rather than by any external organisation.
For this, the practitioner should first cleanse himself of sins by
confession and fasting.3 At the beginning of the 15 days, the practitioner
should acquire four leaves from either an olive tree, a bay bush or vine
leaves. These he or she places in a new glass in a pure place. These leaves
are needed for the last three days of the preparatory period, which should
fall on a Friday through Sunday. On the Friday the practitioner takes the
leaves and mixes them with saffron in rosewater. On each leaf, the
practitioner writes one word with a new pen: Hagnadam, Merabor,
Hamiladei, and Pesiguaguol respectively.4

1 A fully integrated system, with all subjects available, all prayers and a full
explanation, requires the translation of Version B (a gloss or commentary on
Version A) and the Opus Operum. This is already planned for publication next year.
2 With acknowledgements to Julien Veronese's essay 'Magic, Theurgy and
Spirituality in the Medieval Ritual of the Ars notoria' in Fanger, Invoking Angels,
2012, pp. 43-49.
3 In the Catholic context this preparation is preceded by confession and penance.
4 This is a traditional procedure that also appears in other magical traditions.

118
 Ars Notoria

These he places in a row on a clean table or altar. The glass is then filled
with pure water. The first of the leaves should be dipped into it and
rubbed until the name written on it dissolves in the water. The leaf is
then removed. The same is done with the other leaves, thereby
dissolving the virtues of the four angel names in the water. After this the
practitioner drinks some of the 'angel-name' water and recites the Psalm
Bonitatem et disciplinam et scientiam doce me1 four times.2
The practitioner should read the first three chapters and then recite the
prayers Alpha et omega, the Tria Prima Capitula (Help scemath; Theos,
Megale; Lux mundi),3 and (after a short delay) the 10 Orations in the Ars
Nova4 and the nine Novem Termini prayers.
The timing of the prayers/invocations follows the Catholic ecclesiastical
or canonical hours of prayer.5 This should therefore be scheduled three
times on Friday at the traditional times of prayer: prime (first thing in the
morning, approximately 6 a.m.), terce (the third solar hour approximately
9 a.m.), and at nones (the ninth solar hour approximately 3 p.m.).
The 'angel-name' water should not be drunk on the second and third
hours. A fast should ideally be maintained during the procedure until
after the third reading has finished, although bread and water may be
consumed, if needed.
On Saturday the practitioner follows the same procedure of reciting the
same prayers at prime, terce and nones, and finishes drinking the water.
His fast is now less strict as it may include Lenten food (fish and

1 Psalm 118: 66. "Good judgement and knowledge teach me."

2 This method of writing names on a leaf or papyrus, and then drinking the
water that washes them off is also found in, for example, PGM I. 232-247. In the
PGM, these names would be written with a perfumed ink, usually containing
myrrh in solution, sometimes with added figs, dates, and single stemmed
wormwood, before being washed off and drunk. The laurel (or bay) leaves are
sacred to Apollo and symbolic of victory. This is further circumstantial evidence
of the Greek/Egyptian connections of the Ars Notoria.
The same procedure was known to the ancient Egyptians, as evidenced in the
story of the high priest and magician Setne-Khamwas who wrote every word of
a magical book on papyrus which he then soaked in beer and water. By
drinking this he reputedly mastered the contents of the whole book. See
Lichtheim, M., Ancient Egyptian Literature, Gottingen, 1983, Vol. 3, pp. 125-138.
This procedure also forms a significant part of practical Taoist magic.
3 See Sections 7,10 and 11, and their full form in Appendix 4.
4 Sections 115-125.
5 See Appendix 6 for details of the ecclesiastical hours.

119
 Ars Notoria

vegetables) and even a little wine.

On Sunday, the same prayers should be read at the same times, but the
practitioner may eat meat after the end of the third prayer. The first
preparatory operation is now complete. The practitioner is recommended
to supplement this operation with appropriate good works and penance.
The objective of this preparatory rite is to stimulate a lucid dream
confirming the practitioner's fitness for the operation. If such a dream
indication is vouchsafed then the next part of the operation may begin at
the next New Moon. However, if the dream indicates a negative
outcome then he should not proceed. In either case the practitioner is
advised to keep the contents of this dream to himself and to avoid
discussing it, as this may have the effect of aborting the whole operation.
If he receives a negative indication he may later proceed after he corrects
any moral imperfections indicated, and begin the entire operation again.
Whilst waiting, the prayers should be re-read as often as possible, but
with no time constraints, meanwhile avoiding the commission of any sins.

1. The First Month

Assuming he has a positive dream response, the main ritual begins on the
first day of the next New Moon. Early in the morning new angel-name
water should be made containing the washings of a new set of four leaves
inscribed with angelic names. This should be drunk four times,
interspersing that with the reading of the Psalm Bonitatem et disciplinam,1
etc, followed by a repetition of the preceding prayers as often as possible.
Fasting is not essential, but continuing to study the target subject is
necessary.

2. The Second Month

The first three days of this month consists of preparing the angel-name
water in the same way, drinking it four times and reciting the cycle of
prayers as often as possible.
On the fourth day in the morning, he should drink the angel-name water
again, then recite humbly Alpha et omega, the Tria Prima Capitula orations
and the six prayers from Assay lemath to Te queso Domine.2 After this is
done, the practitioner should spend some time studying his chosen
subject, but he should return to his prayers before terce, around noon

1 Psalm 118: 66.

2 Sections 16 to 25.

120
 Ars Notoria

and in the evening at the same place.

The prayers should be repeated in the same way as the fourth day, on a
further seven days: the eighth day of the month, the twelfth, the
sixteenth, the twentieth, the twenty-fourth, the twenty-eighth, and the
thirtieth. These timing restrictions have already been given above in
conjunction with the six prayers (Assaylemath, Assay Lemeth
[Hazaylemaht], Lemeth, Lamath, Deus summe Deus and Te queso Domine').
On these eight favorable days, the prayers should be pronounced freely
without timing restrictions, “ since the more times all the Latin prayers
are pronounced, the more profit they bring."

3. The Third Month

On the first day of the third month the practitioner should drink the
angel-name water in the early morning and recite the prayers Alpha et
omega, the third chapter, Te queso Domine and its prologue, Lamed,
Rogum, Achacham [Hazatam], etc. He should recite them at terce, noon,
and nones, but with three repetitions each time. The operation is
repeated (without drinking the angel-name water) on the third day of
the month, the sixth, the ninth, the twelfth, the fifteenth, the eighteenth,
the twenty-first, the twenty-fourth, the twenty-sixth, the twenty-ninth
and the thirtieth, making twelve days in all. During these twelve days,
the frequency of the readings should increase considerably: once on the
first day of the Moon's cycle, thrice on the third, six times on the sixth,
nine times on the ninth, twelve times on the twelfth, and fifteen times on
each of the fifteenth, eighteenth, twenty third, twenty sixth, twenty ninth
and thirtieth day. During the twelve days, the practitioner should eat
fish and vegetables but also skim through works dealing with the target
subject.
From the fifteenth day to the end of the month he recites a new sequence
of prayers: in the early morning, at terce and at noon, namely Alpha et
omega; Hely scemath; Theos, Megale; Lux mundi; and the cycle of seven
Orations which run from Ezomamos to Deus Pater immense,1 although on
those days he is not obliged to fast.

4. The Fourth and Final Month

During the fourth and last month, the practitioner moves on to the most
important operation, which is 'inspecting' or contemplating the notae.
During this period, absolute quiet and complete solitude are required.

1 Sections 90-101.

121
 Ars Notoria

The practitioner has the right to retain one servant to look after his daily
needs, but not for idle chatter which might distract him from his
objectives. His teacher, if he has one, may also be present.
On the first day he repeats the operation with the four leaves and then
recites the already specified group of prayers. After which he recites the
orations pertaining specifically to each nota (these are often inscribed
within the nota), whilst scrutinising it.1
Let us take Philosophy as the example. Philosophy has seven notae,
which makes it the most richly endowed subject. The practitioner should
first recite the prayers for the general intellectual faculties - those called
the 'Generals.' The objective of this is to consolidate the work achieved
during the previous three months. The timing is not specified, but early
morning is preferable. Next, still in the early morning, the practitioner
should set up the seven notae of Philosophy, and, with devotion, he
should read the group of prayers starting with Ezomamos once, and next
the prayer Lux, veritas.
a. Having done this, the practitioner should twice recite the prayer
specific to the first nota of Philosophy (that is Ezomamos), and then twice
recite the oration included under that nota [Sections 90-91]. Then he may
proceed to the inspection of the first nota of philosophy.
b. After a brief interval, Lux, veritas should be chanted, and the first
prayer of the Second nota should be recited twice (Domine sancte Pater)
plus the Oration beginning Gezomelion [Sections 92-93].
c. The same procedure is repeated for the third nota of Philosophy
with its Oration and prayer [Sections 94-95]. The inspection of the first
three notae are supposed to last from early morning until the middle of
the day.
d. At noon, the practitioner inspects the fourth nota. As with the
first nota, the prayers which begin with Ezomamos should be read once,
followed by Lux, veritas; and then the prayer (O/i king of kings...) of the
fourth nota should be read twice before proceeding to its inspection
[Section 96].
e. For the fifth nota, the same procedure should be followed, but it
is unfortunately missing from Turner's translation.

1 For the trivium, see Sections 71 - 142; for the quadrivium, see Sections 142a -
104; for the General notae, see Sections 115 - 125; for Philosophy, see Sections 90
- 99; for Theology, see Sections 101 - 116.

122
 Ars Notoria

f. Around nones, the practitioner should inspect the sixth notae using
the prayer and oration at Sections 99-100 in the same way.
When the operation of inspecting the notae is finished, he should skim
through some books of philosophy, reading several chapters at random.
This ritual should be repeated every day of the month except the
seventh and the seventeenth, when it must be slightly modified. From
the first to the sixth nota the usual procedure is doubled: inspecting each
nota twice, and also reciting the invocations twice.
g. For the seventh nota, from noon until evening (sext to vespers) the
practitioner should recite the group Ezethomos, the prayer Lux, veritas and
the prayers of the nota three times [Section 101]. During these two days
the practitioner should continue to skim books of philosophy after each
operation is finished.
This very demanding ritual requires the practitioner's full attention. The
procedure for the other subjects is very similar but with less notae: in
each case the practitioner should read the prayers or orations a specified
number of times before contemplating the relevant notae. There are small
differences in the details, such as the invocations to be recited, and the
auspicious times for their performance.

Timing Calculations
Given that the ritual may be performed for each of the subjects over a
period of four months, the practitioner is advised to set up a calendar
and stick to it. In summary the rules are as follows.
The pivotal month around which the whole ritual is organised is the
fourth or last month, during which the practitioner actually utilises the
notae. This procedure should be carried out at different times of the year
according to the subject which the individual desires to acquire. For each
subject there is an optimum period for the inspection of the notae. The
reason for this is that the specific angels who are involved in the process
of bringing an infusion of knowledge to the practitioner, differ from one
subject to another, and each set of angels has different period
preferences when they are most active. To determine the period most
favorable for a particular angelic intervention, the practitioner must
observe his timing according to the date and time when the sun enters
each sign of the zodiac. For example, if he wishes to acquire Grammar,
he should schedule his working so that the fourth month, in which he
examines the notae, falls in Gemini, in other words around 21 May - 21

123
 Ars Notoria

June. These rules are tabulated in Figure 26.

This means that most operations will begin in the first half of the year
between 22 December and 22 June.1 The seven months of the zodiac
from Aries to Libra are therefore the most popular months for the
examination of the notae - theoretically those from March to October.
Apart from choosing the correct Zodiacal sign matching the chosen
subject, the phases of the Moon have to be taken into account to judge
precise starting times for each of the four month operations. The Ars
Notoria is quite specific about the lunations or days of the lunar month.
For example, specific prayers should be repeated on the first, third, sixth,
etc., days of the lunar month.
The practitioner uses the zodiacal month to determine the positioning of
his four-month long operation, but he should look to the lunar days to
fix the exact start day for specific prayers.
Some prayers (such as Lameth, Deus summe Deus, and Te queso Domine)
can be used to obtains general gifts, such as the gift of clairvoyance, and
the performance times of these are not so strict. One specific case of this,
as we have seen, is the obtaining a vision concerning permission to
proceed. Another use is to obtain clairvoyance.

Medical questions
Another prayer which does not require specific timing is the lesus fili
Dominus [lesu Dei Filius]2 which grants knowledge of the future, but only
in terms of medical knowledge. The goal is to induce an immediate
angelic vision which delivers a reliable response to a simple medical
question. Will the patient survive or die? Is the girl pregnant? What sex
will the child be? Will she have twins? Is the girl a virgin? These are the
questions to which the art guarantees answers without recourse to the
traditional methods of divination like geomancy or horary astrology. As
in the case of clairvoyance, the procedure is extremely simplified: all you
have to do is to pray to put yourself 'in touch' with the angel, stand near
to the sick person, patient or querent, and recite the invocation thrice in
a low voice, without regard to day or time. Any vision or sudden clear
insight delivered to you should then be trusted. As the practitioner
performs this ritual in the presence of strangers, (which is counter to the

1 With the exception of Theology or Astronomy which can be done at several

times during the year (in the Fire signs).
2 Section 29.

124
 Ars Notoria

customary recommendations) it can only be trusted to deliver a simple

answer and not the whole of medical knowledge about the patient's
condition.

Eloquence
If the prayer Gemot, Geel1 is used in the framework of the general ritual
it has the power of reinforcing eloquence. But a more restricted use
allows it to resolve all sorts of business questions or to prevail
eloquently when facing a judge in a court case, a king, or any other
person in a position of power. As responding to these risky situations
necessitates quick reactions, the practitioner should know the prayer by
heart or have it within reach on a small piece of paper. He should recite
it secretly with great devotion just before he goes before the judge or to a
key business meeting. The prayer by virtue of its verba ignota and by the
power of the holy names of angels contained in it, allegedly resolves all
difficulty. However, in order for the prayer to have any effect, the
practitioner should be spiritually clean from all sin at the time he
pronounces it, and he should have fasted (or lived on bread and water)
since the previous day.

Turner's translation
It is noticeable that there is not a lot of practical instruction in Turner's
translation of Version A. In fact the notae referenced come just from the
first half of Mellon 1, and covers all the trivium, plus geometry,
arithmetic, philosophy and theology. However some notae in Mellon 1
are not referenced at all, including 1st Geometry, 5th and 7th Philosophy,
all General, Music, Self-mastery, Physic, Exceptives, Wonders &
Marvels, Justice, Peace & Awe and 4th Theology.

Version B and Opus Operum have much more in the way of practical
instruction and cover a wider range of notae. It is planned to publish a
new translation of that material at a later date in a companion Volume 2.

1 Section 62.

125
 Ars Notoria

Dates of the Fourth Corresponding

Subject Ruled by Month for inspection of Commencement of
the notae1 Operation
Mechanical Arts,2
Aries 21 Mar - 19 Apr 22 December
Theology, Astronomy3

Medicine Taurus 20 Apr - May 20 21 January

Mechanical Arts,
Gemini 21 May - 21 June 20 February
Grammar, Rhetoric
Arithmetic, Geometry,
Cancer 22 June - 21 July 21 March
Philosophy

Theology, Astronomy Leo 22 July - 22 Aug 20 April

Dialectic/Logic Virgo 23 Aug - 22 Sept 21 May

Music Libra 23 Sept - 22 Oct 22 June

Scorpio 23 Oct - 21 Nov 22 July

Theology, Astronomy Sagittarius 22 Nov - 21 Dec 23 August

Capricorn 22 Dec - 20 Jan 23 September

Aquarius 21 Jan - 19 Feb 23 October

Pisces 20 Feb - 20 Mar 22 November

Figure 26: Correct dates on which to inspect the Notae.

1 These dates will vary by a few days each year. Consult an Ephemeris for the
precise date the Sun enters a particular Sign.
2 The Mechanical Arts probably includes the Exceptive Arts (i.e. magic and
divination).
3 Theology and Astronomy are an exception and can also be acquired if the
fourth month falls in the birth Sign of the practitioner.

126
7. Full Manuscript of the earliest Ars Notoria

Yale Beinecke Mellon 1

Ars Notoria, sive Flores Aurei

(Version A)

1225

the complete text

Figures 27-62

127
 Ars Notoria

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iuuran ferpfficennlhT no .nnittir. (Jon k.-. '. .»u.fh'aeaatmr-

Sections 1-11, f. 1.

128
 Ars Notoria
fcnfiMttn .rcontawmitn mcns.cswr
armrec^j^fi^n ditopUw ma.cr ¥~^ afiiy. "tcmar. Aut. 6efcrnm.*'Ä.eU .
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1ii*4>fiinäKatw annent. (grancrojuntec etn:
ftlcmwnC tpiufftynr nftnoha^nounnur!
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tr qficdu’tm.'itarefcnba üinv. Atato-tu'i.
■umuai.«. chllbttt .ixrnca. Sra..~Littna.cm
Sections 12-18, f. lv.
129
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 Ars Notoria

— t . V*- . — — f
uaii< figa fu^qu-idtmgnEf fin dV. ipun fcptuttttnlö^ew; otw pmemoiota.
pfä fi at» notour pma figi.tftip-notm qua t Bretter potte. qr mw -vürftua. fuggeffhr*
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ttfttfälontonr; iCtw» nototä dtafwt*. qi qiitb,- pifliinr. ajn tntnflimr tnemraameä. er
arm noniUe laauflimiei'o^tlfemphcnftbiir tfv ixnupiriltmc-. pgiofimt •rtnefläbiiew
awtrrän ettwtfĄitutiuS. ,£’ic enu airintr inmnium. (frqmes i fbnft tonttnno cto
tatulemcpttan.'b e-tyifttuahutn qftetoj? ruf piectttf rago. iMir-ptaemm timte-*
grjnvnruiJ. gtiuö.mtö-L’q iw«en«rma cWtAmonOi:.» mav -rq-atrpetu tnhtc
tenoftma dłiuntur. Kcćmno. 11 o ta e q ■ßäetvne. latgiirin.^quipecomtrüfla
atm ccgnitto poidmr-rfipittt firgpiitam- tt utdia». fiatmtnitrtiÄ miftuuo erpeevf.
etbSetutmt U; m mtto .*tf figtim-fiiotpr equdb md^nufpmatot» uftcaio^c^
labcnöt r. ®r cnóntq rejrtna .tjpeUatur. laf *7|xc. eSlittxa? flpialoee abflxigafc.
Ipjtvr lUa^rnm’crcdlcnfe. (pnmrßlo -*tnec-petttonttante’. jvngtbis .wchmgr
men i&<roa|prtlan uoluit-. qi qiuÄtin tß# Squill,- pfittuofwmuturex.dignnin ”
forte in ewtumtü myednütttt Unguraufr cflRcatf dfcumpgläm ?maidhitatttam.
tat. •TmiKilnicm clct|ucnnr äiuarfiteid □tu es iituifr cttÄttf Jtnm.
mum. ttoqm »’nqmpueniarur. -piulif
r“ -------------------- “r t iTano eantem omtime- cnatnfiahqua ui
per StpÄ oixmrpittimdu;Utundn; e -.. qlpü ent orö j | ^floömagnadubitninfqinbptrtitrbdtt
--------- r— r-----------
qinTcpttmö voccndif inoirlcnrphibentti tAignäuificSn Sinfhntapiculofiüfiim
r.noKilrto rantafinordifttlbiitet- lÄjtc mt^iteliia&.L’fiSquoinf nbfiTtrtnßVecr
uarteetuft fit-lnuabif effüntif t. Vtag. nttidinr. udpr ttrdicas • etimfuhirucn^

Sections 19-26, f. 2.

130
 Ars Notoria
ncriüruf obftqitto. .* iii*vbu'q- paiei». <^cw
£riauj pcepca 5<wntvmttm qbunpli
hin&C.irbtnBtt Gimuo Fquib,- qcMm magna
offioa fltmww. Our inuaatt»? abco
anofcmbaO mülamoSiO mfinutues
1cn»m uouiriö tv<xgniRXi6.ilicw egni
9 ehr rutrom atnntu r jbmoimnfiti fua
cucrlläpics raum codicfcretfr. 3noflaa.
*4acou. Ililo&dni • tvncefabeioeto&.ph* mtftii tnnti tauM utntem.
• -ptagÄin. towfi. $ncov. dn-itoi
Arulcp. Tjlvöttnice. «FtyotlW« ptactßi’.flnO
rota. Amloo. fnconod. !pkotre.tw»i-.ftn
axbfci Abeftott. antitc. rtocetr.
mütgaß cum. quit* r uibctnr. •vRn^onbär
biv.T aüqiubW {lmHroualdJrr-£>ctae<p
culdubio qi aOiutax e tnfiahuo • ‘Jiauttuv
q®iitctr£tanit'.,'r inalc-.T .tUqutbbif.fi
mlerfciae<p«to qtua abmöitrr.^tautc
ntdponbctr abmcntrö. $iaurrefyonbcit-
nricto: firniliv mo» e. ümfiihitac miia
bitur ttigwmur«i£uaüptterfiietrq,nbf
rrfpontcndi ctzur-nö liibcar. aiimaic^^
uit uingiiä rd|oiite n ptuctb. f noluctr pi-.'.-umiifi^ .iftty Gib tpi-’rcpttö. 1‘tpi
p otvurdictax q, rpmum fmrrtua ucur
nr.Cciac öipffitttmtn. jScörofiquia T
hmitatf’ fhnulanfc.-rcctainr. die canöc
öröne-..*f’(nr r uni© angtica. quobö ip
fiittt- uenur * .£ wtun mfirotiC Iqpnqiuif
fiie& audito e? nev-.'poo fimihr dia& Ihc
oronr.^itöucr t ränimo (hum utnim
tnou ötatfc an utucvc. 61 ctiax puifln in
fiinittojW- cmibfronhieTcoo mcmcaata'.
{liftjtvnr rcuunodi l’cu^effievruf fiirtr mfi‘
tw. <SY fi pulfin tnulicifr rcaflxitv. fäcGab
fip dubio-fi|*tnanffiiar. Afimafculnofii
der Aroma ipocqrif» t’ fi jronini fiirmr;
(h« -?iUubnfrnäna V’dno<b^qiu^51i
agr jnä officii r.t mnabtur fuctgnvr?
Ccittk 5imam lutmitirc- «uuberdubita
uib. ömbFotwicmmanoiatn abß}: du
wo t fiigtptvtut* utnnfit iwx» annon. Je
co q.fiilbmon otönr pfina Samfnotwi
a fubahfllm&diftpifir.
p^ccotvnifpGttr f efficatia .«f> mCe^tt
l/ner/Vn AjfrCiLöTnon .'kitncnouam
phyfiffoditönc- aeö acxrp» V«-r’m*ip*
Sections 27-32, f. 2v.
131
mniflxv nouum.'mandittnn tarn ctR
anmno ftFc’-fiinaarötiUm • irnuf mfr.itw
tpttiT pbyficr fncntvvm quaUtatrptmer
•7 quanntntr. TJnq tvmitabilrft
Ann nia^-qm mndum i q.quini ntüopc
dtofcv quittR leuit. u cunf.*pijTe
twenmr. ^Hiaiitrqiioncöcutnqi ipwntr
.”i8’uctd»i# idpifr iruikitudinr. Rr
flikunö
ö an® notnurftibtüitatt- dunm auitUu
mitabtu utntntc diftnifir. S»wquia «tute
qiitt» e q.^riunnif. nn-uit*lic-*.?tan«
Tub ju tamfpcioCi bjeutatr^fliin.jfi*;'
ncccflhtnm puf aidufaiiqinö avt'OT’'rale
pioemnu. uirrfubUiniG •jcircUcnciöo
pio öidinarorjixyfln liinafpaminufaudi
truje -ifojrrnu’ -.'ualftii". $e-eoq» non um
cniq; flnun btatis axer officium: >uni
noteahs aöaUa; attm facau^pfinr.
gr~2jdtflatam ^ppsffibiUtattf nürfiiul
V . , Ante. q> nccce r ab mann .icccricntoe.
Salomon rttnu aaCnottnic tnacf opi
aUqiuurniif pana|Hntib,' qm maimu?
airaniffiu ibcronoroiuu. .i|ydLuut - coq.
cä-atbanum. ‘jTactiafciet&qs. 'WoinT
yrtvliberales..?incdwnai0- •icircptiuaö
ifroplrnchr. «StcjuicraLinb,- lomtu*'?
ittub; lautönilp. nnqpUrie^Cifttdiofiß
Utnöj? uolnmmib; ^nianrni f|unimi tpf.
aquo inf ingemoÄfnme" ^pbentunturi
(U uet*b’ piuaT. (rpto -piniflimo plaatoq;
dicb,_pnuwtmr aquoixifüguo •rdutmni
tabili • aciauduo uboj^s ac unuiuan^G
car^ feianttu\*^>x* 37 tübt fiiutlcas afum
micatuiie ^fhunntönc* fcptubt fhcnn
ai3 nccfU c nunufmnr.u. dein qtjuiim
tünum opetrt.jdigJirirapiamuG’il.iin
rum aiTco fingulr notao 0 diQtntuo «?^5
nocaraf cm figutöhanr; '^cumnotaium
ciiiq: attfluum litcrixvtx offiaum 1 -rar
tif umufnoto-abaluu {hercu arirm no
.pfinr- qxdiflidlc-raUqnnihi^ r. «ihr
trcatnprtuulo cpplitatiim tpludimab
ipni emparnd bi*. ^GnßjU’ .prufnobfir
«ullau .uq: plctiatr-diftimiT'aluiqii0®
 Ars Notoria

r.i&inuufaiis facnrt naq; alxxs rdbtmfti* diUwoqiUi»nu^

;łmfqmittc^.«n^ifef«^dimniC crplour upfirm abceUfha wcwta qabm
&equentirowmif lihidwnźn flint. «m -fttaw^d»ijji<war ♦ jnfimna.
W 1Ui& ciuni nolS necfi*7p?fteisntif y&mv" trpte* itrfhw» mftama • couge» dfficę-tnc-.
i ń^uftyea-ipendio" ur fiam nowtf inuntauf tw.e tmettiiwnbw.
Ada rctattb^htam -ymigna; fcpcuttti£uo -rmHifapiew fctenna tn—Gume-coApc!
umuna comcMcanuiG cSjicb iiletitt firp» m -raiemfe« .-roii TmfioeUutn creCtom
fit. riiiniGanmpuffimiCmb.;. pałało rnófttwf.^Wcd^lempuhiti aftiomo
monę it»!tt funr diligcimOitne-m^ami nrgnfina cmourbaimm .igiHUti rv
muf. Jnquou.pmd illubptnm yfpcnairf * Y’ ćcanm q<mn |ń'ncnU crpfimmff>6.
cdligyndm f i cj. otnnrptnifih i afifcinn r¥tr otfintrequam untifąuffip swrajjt
capttuhu inomt.fmóe-L^o. tta anj^mbis Tyit miuc uatutflt -nd»qutów
tnmiitn utcdnm ruftcrerr^^petcnatęć’ ppmtimTci^aOttnfej^inroem ««icp11
ipipmata tiln otfinifedicantut‘.£uibfir b mnanai fufftcr Gic ultur. lyc eium
;W -pat® orótiif; tipnpuedicfiłaćApi erb .iGimnottc-^ćimcomnedm apdlaf,
abccrtnonc fcptutnis folia twohicriło ut ^puulo mcpitfr i«mf • Sr* tóhcu#«
{pcw a f 7 dtcrntnc ifii oro. qfi altcjm mu cuifin-dicta, ćttdam abUtaennn finRc
uan ftntrtm: ranatnauditai: rfubita abuna. nn. .wflHhj^phibetur^uib.-rM
ncrjpytta hxctbe*>pletuue- fnticktttw nunnar fiv*Ttnan c^pSeflcrreman-yA
fobie- uotucib. q|ń cup. qv- canoe oirme- tttnb*. 4pmf
wihT ołoiHl crwiplar. 'ubuim
arómf ^rcmpiar; flo
iibuunno
dicta'« qit t aUqtnf ipohme- t' jpie-djrot. rum tKTtnrrtUfhafMomon ajpdlhuit"» d>k>
cmrorteftiafMonmn ajprllaint-. 6U
q> nicfhailmti^nei-tyne. jyu ^eiftaafi»: nficamr ilixbnntnii;qabthxdcg3m4rt>t ł
j$qua lAHttfimirntoptmunai* tfpitabi umo nutu ac opctcntia uoumtae infpttttr.
n£on> cmur !»< fqiiqiiagtfimoiioHniund (i?fiib:tartfr jupiftiŁąi quaftam oionnin
Sin.i^titdmc^uAhttino .w* at>rcr|»tnr. fpfit ipKnoaefacfini Mnuno&olagient^
/ amre »'fUguaa * fkftticnnal. aanU». maiouf Ainifpui tcicfana nMOur.^urm
tffeicub« ^mrmmno». Ictrn* e^taia - Aatab enr cdpoirajtldcantr. igiirqiTcracdigr
^Laamaton« Upi-ot»« «agemM-,'łi wiftid»q; nttftn funrtpi* quitń ndtłje
laiti. (Seflbnmm. żkawb- fiwttftat*. Smar- olqęta cutttnttOafiprefitt ą^unlfe.Ąuii*
fla OTnmo^tinttite Flccofc&pme-iwte- Gtomon ftgtuB mifin «1 pmgtó ptocetruc»
ftnaBtrar »cm» fcptuKi. (£umf crpfito duir. Tvc enlcvplcn3nf r digmtartfnfi-fi.
nifqnqna£e<ima pitc-niolurmn^Smanr iunfbuanr.q- men? dJctocma
nidinrqimhtatt& ahde^&ttf ęTplcuim-*7<otmu»m {łqudimij.
£>rne^die-rnipi fiantairftrilectiifefam fiftrcntmcwh^funrm^inb/mapiapt
mnat-
mnaf- mrftitu tudie ffititr
nirltitu rucha fwfa tfaiufma ł# cfftiatia • qua^ pt oró
audirei • KxTa
littuj* audirot«
aridnbttanrc^ęrpoimturećpiiapiu.^ax< l{^ai’ć^itadiK>14^«7CD^0fantr^
dutrotwiie ęrpoflno qimnpahaila tf efb- ~ |ipfprcu&nrlirtm‘'mem<ma. tfridća)^
/T^cmouaTOrepiwfibtf. £lpuinv'tiaduxbi ipŁi fiŁcmon fiomim *
1 liUs i cffkana ^mutabit. »cim «(ilnan dJw ent «ie iig.adafte& Qvaaf‘mofy^cr
*’ ampleeterccnmm «statua.tpleanó> &n>id;abyłopunigegriif^Spnictr« "*•
-fćUnn^ map memftua ma. i <rcem.timuim nitu» 4iiteFma; imupmafemrtipł«'

O
trjfji tuoy?»^dtikebogtt-tur. muniat mw-
msu ą>len«2 fpó fd. cancaf qttngii faciem
mam cum onfib; utunU; cdi intucrt <m flnr
tóJew. ftpia qtu crmu fcnlfi.TteŁhgęn
naq cnoiatrftpnufhttatitudmi&Efhiean
ni'^jnrnJr^lnętm ttp««*
inona ./rdafdeani.i • •fingntatiama *c
octaftcrwna. ąungdTima pma • •? mittdi
ma fiu mntgthma ftm. -y tmugtftma
nona.«yttefonafepttc® sebtt-dici. liSau *

Sections 33-40, f. 3.

132
 Ars Notoria

otató r trnitr uditie: ettntr cfficattbuir tvnb.x r. edteta ptna et ptc. t. pncipto^
ipńn dims»
die qua iptm dime tp- Snrnnato. tmy
tpć Stmmato.tnn_ quam pie aha ipltifoirnnfduatuK ifad,
ta eaditr •htuf fttcnae- mtłyolątta augppt*.
— —1.-7. ccnhiflinr..
ttrfiuohiciś iur Sipi portu* nttito.-rfiat» dma»fWa. «Pccomc^pp. jpicw
ingittlffiiitó aftoit* Efiiiditte ffimihb; I J tatttl. ‘XLittnof-tnonr ifla dicenhiiir
tnw mfiif al>~- flfoc™. c.wbqiuf fcttr-e - drrpvtti lamia.»
a itaureie mnup dtrfiibiromcu onfitnfl. •■'fbutn. rtitcon. alhi. te®.
nanu^lHlwĄ .rdTffńtnairi^. Ani tame-
iirdieqiia duttft cam cries • ę tmufoiftr.
<fmn fond dictis duw cam fl ini o inane.
z'3’tiiit-<wner iftam cotvm tribute-an
q _ ?»rtnjikua. ths*, detw pm fil» eg,
e»l« Ax-co. tvtiemanrcUaxnm; memmtfnf
aofltfcipienay. abi.qict; ccgnoftettl®. astro
ncn&tm. feptwai? ontnp ton 02s łcteti turn.
tęancdb. an^ife jpjituCtvmmm qtu f (lapiCTimy ■pfetictnnmn. JJhtD
ofycrni «mmi fnn£ affifhr.'ćin ncnńr *3 fdSrpuir q.wna pwdtcintn
pnnpbrtwf. i&uftem etiam otómffar I -fhib e pnaputm onmif cj.flcdtnmuf diet
fan indianm ramif yeffi autacc-pbi £opo^fiii4?Lu5ne&efinipiCifhtumwob
txnir. \»frcutn cam feme! duttśń am nre mcmoneoblimocm-. ertCihn l.ww
plnifearndiaopoircr* £V«icpt|»p cirtnmuar Tatanf ntr axinplaT-'Jncj
mouenr ceitfhs afcalKpiofr mactmnn a amif » efficana r.^cqutnit* .* nla fUhttl
xvndum V Ihbfcqiito ęutiOy rcientiai qmfia dcfiiptiif dictum e.Cw
hrvecatom otmie-chcmir q.’ciuf tanni; mcfle-mylhutn • mmfpFccro mifheiabre '
^^fit-miftuim iiyfp5 cdifho aoauąmb pittun ^eipi&cmtnair.Jy-tfmtniuf^
macniuiagcndindiuina pnnrmetagt ertdha • eq ertna. fin ttrna menuf “£ftn
tar^pmotKar. ♦? efiu miftiitatutt eddhaaieftte iicffiaamr- 5bmmnf&tf.
rtm effientov urtinpifli ea»ipin\pfrn ^npRcmm mttp tutor odi tin. emUlno
tie. taut iCptinra- emiter; uq7 nouumqb mo «•flbenttir. dice ftcmtibunnm enemo
emaernum e miftcialc mtdimfle camo incis.^tccnim iHbttandin ripfcpaCbu'
fcaf .~hoc ante- ripiitfotvnif ^napun noanmpofninniroia fctoe.xVoi nrcunto’
cj. tata'ńćhwtnjHitrttltte objimn cqxntr ariutn qnrpuf lubinr. f.>ftmercntonn
hr* ~ker etoipia dininii* v iShmf cnam {fyerna q aco ń r. uoluetreni
p^dy. <jdrm. fleam •'Irtaar.^etsW' yr-rp'to'Oinuduuto Iwćę.:-rfićtftarunrrjue
- . _ . x *1 - < 1
•? utoanrfli q 11025 tkh fepta {urn-mi^ --------
meto» --—
-' '• an fcJmn
aomtn -v- .—
puxm -- c
tJvamai
ino utte. quet^sneu tweentur. <4witm pió iplitto-cnvmf. q&rpis- aui-ea. itmn
^otvnr. Aaftym. lamar. ^’cuiatnot. ap.
.ftacn. Anacmr. jofici. bdpnar.£/m - ( am fdtofiG emełlcntEs ^.iperetilTmu

'
tamar. bdytmor. tiveft. ni» "ftnene. ■
“flmo.flernapn. d-nacrji. TefctnctiAy. j
nptrmum ob-TeaHtiw/offttię mechę mtr
I Krdiffimmriincqqumn ealinftm^ pomt
,lmmoe* |a< faepflee.-Tatp.el • ^mcn.j htttnamfdtflinm* fnapttnn ommf »r
ynncipium^iphatromfpnnn oatiun
Tfl>aiuif»iui. finit paiw..;
dir pTnf fede 1tv eft-
Ą otmto?.4eototw. fleia
ftuf Fpnciptm jphitroivntf cuf$. tfn V~zinoL.(eoiiHma. €vcmd.. ^Umnib» <Jr
rimrpm®. yerse^napto atiqut^jjfe- gtnay. 3«tt. db»cpau». Jbnm. ‘Iflnpłe^
dwendiu e nn^cenf pinb- Avail la tttn fdiiatónife. OrquaaUqtub fingttlaiFcr
* mF^impuu,eiftaS.ivn.p«ee&’. diondum e-^tfetremm otvncm direie
Qwttf ftam diutfioćm * bicdVcm 1gim ,
faimOie? pitrpmemtoata tveduap-.'.
^-^pnopio diGMidue rfinątiia*!?.£jq .0 omtum qmee to mf qui mpiinpiP cna
aidvmpuf ttdijnrnixf dun > V / carafh ernidnlo. qm inlputito cmutr

Sections 41-51, f. 3v.

133
 Ars Notoria

fiemafti*. pptc-rcftium ftnum mtrtlttttu ttycc-adtrlubuifl«-. ^Luo ttftunamotpi ott>

marm ur frfifiortn tt omta ogi cwuui etbnnnąti iatomonxi xnxiubxhQi ft ad
omtm f&tvaS mceiS>t£v|vftV[' ^rpofafm • .tum ećhun ipt.ottmi mifttum < _papm»
iXvduvbS facto intmtto qx lott duntbi g- uraxntoqincubq; dx» uoLucit ii f fimiptu '
e-.d&cza ttyjtn otónem q ó ifta • oft-qntn dicat. Jnpfiiinpw ennxi f«tntnj
/Y\<ftcal.anotos. "Lematu. ^aotiai.^T Ó.A fit peeptum f uadicattir. txeefiuntta
11 f ^^•*^wFwnw9‘ attam$». .In>, otmuf pmc.
atnatr, ęetoCiftu. a^^aprtnnar. daiecb. <Y*Vxa&£- pcepttf ctnaluuri b’diniiun anurn
'latnCimir. 3mxr. "hr "bac ttia patt-otó ixftrflaium abitttttnuftttttfiimuC.
nrt dicm .piixeditibew bfqxune> qxvxofar Sfinimlaib,. pspuffotium.xliqinbdiffimtt-.
tiólparo. ómCrdirt©.^ ó;qifpU? aiHhm aliqutb phtexito tragini.
'JW enci&trar. *?u»ta omnimcttattrta^mtr navflr e- uc.S tpa cufn <bhd qinbfiginficcrau
iJLebe. murficft mr.>inrełlertinn mmrn diamiif
•ifirma «rrefizuita Mhcntw; meam. fićttjp /~2r^l duodertm flętnif anno und.-^Uina totttr
fiUomom «pmrtifh .“Ino chart qxiatam pit nno.-?fp' f& uno caY-nnmo Hputit.
trm crónif diet* qnr dl tfla • IfcnintHr rillnftinr. vfi dictum e iifoldxfin,
r/J uir.liald »Guttuc. dqaxac.TJcjvnal.^d lint .’quoin pirtfiibaiiditur ait hibrtur.Ą;
jltnaia. yfatay.Jrteniidrl • tffiburmanb. qi mlrbico Bubum Sfic.' flattno^abittniir
" /<Trtni«al • Jernnaal. <£Kdre. flnctccotnoa. Sto 5ficr-. jfhibfcxpi ottmefaa* e-»«
/ Amin. ^p.inb; cnim pmcmcwtrt/m g-befi t cceomA qipnalrt^quoCHmłmtłi atm
nipime/.*pcpnrm; attw. f-reąo mdmtya? Ijktroronef- ^póbfhmtrcfficatia •jnntóUi
tu tuo toimnew incuuw nutu cnnia nuta.? J fit* ■) pa eium c- quoCvxnx tyraalc-ottiira.
ająa fimr.‘bcclcquQŁ-. urabia» mfibrtuat^ rt;tnni utxa ignalib,- ofirtif« nrteqaxm gna
crtw.' .»tuner fiB tuuo omta uiuificanfmc- ua'.'^om’itx.attb.'Cpmuniaffieao omita ‘iftuu
am mcrediihcutm. irdirt$. lieciioG tv; utipun obfuette fcufto
£^cicndum cq.roa ifhtoró inęrpfita i*r dxaufLcgan diii. .rqxnfimbifh qm
i^Fuaa r; jpttući qi tantrCubabtati» ćifte romim fip.iflifhrt . *?qux utterfitaojOfnae’-
j r ^tuma „fwntf iutxgita chiltemrt ?ivbic -ftiuatman note- dxeq.:.
afum- trtmfiiVtib.pimittibtldiffiaiUatcdi f ¥ crrmqm xtta Wfttida. omifhcn -rintrl
ftomim r urxf ullawnixf intxtrpoflitixbcnr | FltgibiUo- uxquib; inc& «^ofaetia
ttunffat lauwnxf offiaxinx Sitaautcm.fci wttgeflar. Jpm cntm tmtum r. u Furr cam
ttnaqfubuinainituf pint; cwiirt jphxte. fin iwixtntue biqu t om ta nidit ux-rtpec
ci uhi fittxr. qbduuso ftnćó xnnn rutnfe* tu cmf ‘Yłita. <Shó an» qrt aim tum ątioflp
rt puttier: alo rantu xtoixme- funr. f. fingulau .* facintllo nwftiiim. &rtpi ioivnrnemo
-ptttumownifflrtutr. caprtula tain aliqtubA^ |Tattpulammnuam fiulurutam ahqmbdi
orottóctn jetinua. J pi cntm cnó tuntttmfttić cepfinnat-. fili xqxinul nicb’diaxr. natm
iificttgrfaloi-nonrtrftc.dum ipim qiulttin fifnia drtabtóó .^vii faloinon die. "ftemox
otvxxem pphxtatn rnnnifnufst fitmiliaixelx \ qiuc 8 fyic otvncfnano aimfitiftpib- btrm
b» hr finer iucxxw fnixmum aapulattrt • pt- natrt trtanrpfiimar. tfirfibtpioróne alu^
acrtfllim mulićtw pGmmofcdicct; nodum qpxw> an pinpfulc. aifmemoua fteta fiifir
ciuf fimtn :'dxn^urtc»n erpetb memou bc-tptanowetn eurttumCitubuo e. uiput
r. «art -rnntttrtirt. adlvtam tnoitrtfiunrtć; intiicii tnekxuf tUc-^ib yHalmirt x?q dunime.
tn^a axit- mentrtdifitw:Sm. jncrfiv qu» o <ccnitc- p mc-factftm mvfvpifcatneo hofuz.
ttxmacar fitwnn 'jntun fiictti nuftio pfumtUO fir drt -;fcc • Cjiio qu o|v tjinrccfficnnc^mn z
<r dictril©.’ umttn marunie-, altinunąur. ttiii nqi nnftiifir. ft cvnta fiicnltrur faxrnie.
ocuioi^. quanp annum. cufirdcG ĄfiaęrHla Ucc^qiioftmxnf nrtqUocWcipulrtfiiioib

Sections 52-60, f. 4.

134
 Ars Notoria
dttanr fcnv pruim. ^»omudirtmuf
ctnU rniffu c> o ipm rtotn J»muum.igmu
^»frfaMrmtittfirnr. ttnq- *l’”)a£}|Ppl0 łv
jłto;>c5m tTuto: mtcuiila fiut-mtttt Air
qaimq: fec.iM anono Ul-OiSjlh\pfierc
wt^ttnetfur. abqnatn anqiniłu«umriń
fir- aligiti^ cr direndiim raHntmur-
oidinaror M•
pCt r gnali u pnujinguLtuim b utrtfij^
I in^-remene cum (fuli* Sfrtcunda ftailbttr
iMt-yumrern. intrUigendum rquilr.'quo
tpć.‘ qu.t oucłittamr.quib.-diiurt0ntb;
ftutu. ćlrnit^i-fśttr^minluna;,YHti.^lh
pra cnditiató li fingulte dtcb; manę p p1
puaeotpnm arjqm .)taminctuvlv» Cth
au m cnuflmuldiGttur totaabfidmifiór.
cdruifitty fca łMłrnbrfimr. n q«»w duu
nitur tnfe. ficp. tuntu nom •? tstngiiofutn
ępitw fcbttiir-Tfingirtao piu» tpii»C tan
nomuuf ftatngliofujprca j.rnirniwdicf •
tn. e rtipm ncrilcnnfnmnm nom. ńfimf
totinn fiugrti nur -y m fim t m te mńmj?
fcntuir. nnodetńti ipnif noif rfilkllr-.
.TntCTnouM^flntnfintfoitr. camofrendn
r: urah^uif pfimipftiofr Ulub
ftii ^ignoiaua .ilujuibt*-l|ii agat^agni
dum-riofit.
OC arwnni attSntnpUr faoidre tpnfalo
I I F mon •ypHlci cf: nnfhe gui legrmar• h
i rtnoiiauim .UW rrpMińuutn lign.m jfjr
J tan«:. Irr p nap mm oiontf uf; ab&nem*
gfluor»»TM.. ‘-ratuci. t<xroxu. •■* erm.
floagni. Gcpinai. Alin. .Wmathon.
cl. ^amreł. Stłunatoe. ^omai.tA
al«tigcn • Cum son < cirfrt • iSecttetojal .j
Imabiac. ^ahtlcbsoo. <^obem • wlbcato,
thddne. ifremodios. (i^ncŁar^ntm.
(Jcfcmmei. iS^erwm, ^aobiet-Sa
nul •
Z^crtwo fnatu ap (apienret? fdi unii
yZ^rnnuf cujn Giną idufhtąrpfimiH •*
agćnair* onntjje-dir.pd^ti pihfiinm
minalib; inperfitiirńfiićtf. ^leuuratia
cmrtwUb; ipedituffiieie; i~cmarttiop>tir
tUam tnemcnrr. .?fi bn uoluetf m ceft
ctMibuf; lU.n, tcrrcpetc. ęfimaiinn fiicif
Sections 61-67, f. 4v.
135
fiue wmm femtorem im agr tw1u$
fctnd re$rae a renem .cr.toitetur cibifc
awrciie- cpitmn nftxe fu«?-. ćrfli|ńmv;f
trperemf; p>IF, dajutnnrmutatutoobtt-
tantum rmiifiuwcntu otoni?«0, trtai,
■aluiO eq. ini|u otmtrnftieaiidum r.^pńn
uibrtiarotunem im^Hrr^nnntwT. urófts
<w prrtat coidifcque. ^nniuuetur mirem
fimub .7.ibUnhq tnutaUe/^pnunneturau
(urno manę-. flfllhnhe duatur. oiufit
cunctir. ęinreUercur••rpfeuetnnc-.
miyś fcmpnińr bo -ymifiinne. pifań
O ferma tKnatatr. qtnno£>euiiifje.;tn
.-iplrtt fibUie nnmutabtl' remedium ftiu
cnre-ottmftt ; qin g omipwinam maiefta
na mr nob fcautatem lajucndi
ccuo ammaup- nttpitttm. cufdifyóuwjn
fua.pintcntia ufidUtut; mt .ynata ethar
Hiibftanflalietó ąmętaUatuf eefitpołoe.
inqnr tuta dunnitaf ccngthf hihrtar. tr
preim.udłatr tuom: agłifico onńpotttr
emitatif tur timttm •' ac inHomficcnaam
firma cHirńainntttttfrtnf mptasutarfiAp
tan* w-ir.fco «, meuf lipiam incfhbtUtn.
m euf oonftKou angibis nfifhr. tc-t>epxn.<j-
ftogitr. upfem •zgliofiim nomtuiun •?£
.ifptmrm anfl^fojstiKBS.-r^pniłpttwfcc
cełeftw m gtutua fnbuetuar. utfaamdi
tarem m tnbiwecintrliectuf tui mementa
•ypfcutonttam freiwf. ^uiuuue^iwiae
emalie unuf -y tmtf fce. potma faula firn
loium m^f|rcni oimum u tu tum cddhtii
!nć *? ccfinrpcu .,-y ubtq» ilmcn.
fti .uirotb fre Anita. -yilhe aadinf grnccr
fitatrfmomf ptneudum r. qrftibmrftio
itt-atu]htulftin ticiturnitare-iife: mcrpiee
<iireqnobiwineie. |vfhpu fucundtam ha
bucie qnr rirnołucte- piccr •ynoliipfnv^-
ttbtUnoua -ymće fuggdletr • 'Jltcfimf cgiia
luimi |rcpto?^ oaifct funt* .a&tntcłitgśhąK
metneuam •yfcictindiam adrpifirnaim.
F^ftaenrm cumacjptimuftinrgnahum
i, trepap-
^^"»r {atu ................
funt ..figna. r t
...........ubgnMitypcfp
ttf* inrrtlioreiKiifcp abtpifcndie lumr&
aiitie • qnc afi rmerpce fiipłunr ipm> fpw
nlon lalemon .i|fdhurt. ^nr-atwefingu
 Ars Notoria
guleTmguUe bńr poreftatra.
■^CSy-ikpn enim pgńaUb,* yrrprtftutafhffia '
Lzcnediffimtio F.eowneo pHteGurrqauc
I tontzitw orönum incpnb,* ^fiftnatnm e-.
TpitMfrfiHgtflie orömhue ■•fTeeteat’. ,d;qnja
H fingnl' atib,< trtatun fiunnf [inaillanm
nrvriLühiue.uquib.Uia-ni .j-macrtni* in
dttnpliimpHlitrfnoe cttam crequamiit:
<4itennn fiilomon antta qm atmm flngnla
tnnn noae fingidae fiurcw'ncßpnotutae
ammntr. fiMdiwn d? dü.ifhnimmfq.eft'
plqmffiiie^ponium. .?ittn ixt« flibfqiifntu
ciicvm öpicnttf-
^Tcrmo: .Limen • jqxal• ^almenar. tfba
C/Jxiol. tfrolcninątos. AlaamioL.flrtente
ntcc^.’7,c>lnia .4Liiatvl.Landet«^emr
nai. •zeroixmautn. "tatononm. njota»
p
‘Vau • ‘Tier • <pmi». G. xfTttoma i• .uf.
Alle, semonat. “fUamn. )c?<wl>1.
(til. 1cttanw/Ln..ö«niula.tnir. Jetoina«
öaffk.lohK. önamiai .‘Mnagnwae.
■ftqxpwinlnn. Lonnau Jiewinriłon.Cn
rracc. dintmal .^beomees. tfarneloe.da
d. Jejjffior. £amanail. Qmin. iSrlitii
iib; .?intt+umcie attty •;
fta ntquit rer falemón roiönmn otbf^er -
^tiaie-qonna fiüGnfnitaia ftuejtr
lialia pknepfitnr. efftcaat audianrt mr
inenFaudi^w ttnennr. atqiub abßiignU
rutmflngni.nä attain papa an qm nein
■tvnuf- ncceflLriiquöfmgnlc-atte flngtilas
hairrnotäf eritfltatmuC« 'Ltrw enim.vn”.1
liliiiw funr. -?f(prt rtve|>tturcfbptc:n mr
dumce. Jvfepteliliuib; puf.iacndiHncfl-
,£>epteauranre nicdiinmrecrcrpttiicr’Gib
viv lihiUh; oimcnmr* dLue<fp«"LHue£i
ßrcr mäi fcflum e; CKerhinus* atrr ftptrm
fimrifle- jbattnantuvjnnnnarina .-fli£
manna • (fitvmanna. diomäna i cecntgi
a- .dttbaftrougia namegia- óiscclnnice-
anrdiammt^qi aönitnne. ptvmann ae
qt-fciä aqt ojq.innprtinn ■finrxntnnbxa.iqt
ItiTinf 1‘airvnnf' qfcnn magot,» ergitnomf
fein lubeatur. pttvm.tticra fciä ^tffne.qf
ügnr-?Rama diRtnrntr ftü hltut* fiiicai
Rttrrrc- fe. fnärnja« cypifnEV^<p ma$na
Sections 68-74, f. 5.
136
cfficanain.‘ii’,’enlichwrt7* 'tlupnantiaqi&fr
{äcfimw-.tnimalntmotutvili
fftvö mim mcHtnum, J mw .vpui. put» tg
ntC cjiftunnin^cq. iś^Lcnimmgwmantia
ql-CufieiMm annnahmn łncoteo^. qFniC
pxcö qcumannqimnagni miLii-?plvnb>
ofiittier. <tfrt1Witiwi üep ntqum^blnö
a«fanf uiflnf ahqmC ftne^co Iqjtt- 4u
co nqUakegiinn ttputaret-. &uo emml’
bu aufÄttfürmrpeecö poflimricgi.^oa
quhpi äte Lutfn» diaü ?.' abcttxif du 1.-.
nmC;
i-tee u ftprĆUiiileęFimr quaf tmufqn?
ftn psco ‘ffl'tnnn
a inft^ttnmp dutrna rmfha.
.nńf.ntfe .itrphita nutabihraonoGimtw*.
drtamatua «nm tree onon notary, buir
it rt ft lyrn J-
ttcaduaf« (LetipMca.un'« ermgnilrcutncrtv ■trc/^rtrA
nib; .i^nG^t qpgmattcrt.tn »dMlcttßl«n»
whmobnn’. hit7.' i|» tt^r-fibtjtee-afltma
rriltii antrcqpwunMur» 'Atcewm
qrv .tmimtanf». e»nroiörm« mi oUienf. im
co- ilbt ftw • 'An tdß tvimm lüniun n\ atru
Irt-. fifteent^nee oatfcptr. cdunfit’
tli finfrtßay.itnxninocaf.^otö^ce cUftttir
tf^ap-W« J’titp ™ qnttnnnftcT
ft-?. ^fnbmnrvAict>uc»t qtamürö^ad
.i«f magno tpto Lpttn .^hie-rpiif^inehF
d> Gint. itn -yni aWcm faäm^tnonebm^
iftrtp mcttmta unmim. £t-dnm po
fhilaem tomtnor nti hxfequaUf hrA«
tflśanuftomun fäctnmm F.^ tndnfu oüT
fAte-.ifq’ttim mag-^li« fct unittr» qntpc^i
m.imxüalc. Guefqstnmm ifpertibilwn.
i{|mans , qtlltdh^ ccgtoem. St
n uLuf ang&. eepf-mqinbnotaftftw mm
cnvnib; finf fin qä ^trnniafcrnfhtma tdjn '
ct U8 •ifhtirta flint atö en olir .ptedimr
tiftendir ttp ßuoiriönttxbium. iq qntiy tyi
b; «otnia^fenDa kew; a^ttflrme-JT-m diü
tufloan bmonfh'anrt. djuofalomÖ .nidi
k> ‘?uifo fmiünim angu abomtno iüam
i omih; tftto opitufjL xSt-nco pr tnm ano "
W’mteä^pftnin.^irw nöbidiqinb^poC
ft-otyfiüUniiV • ^xre qrarogmattct. ttietä
nttn notrtfVHt. mlihm lätomonif gtmetwtbi
 Ars Notoria
.i.inliteoarno tei. qfanj attuwn aiuj^S
fncnnatuin. '.lit falomfcn. ^cumabanclb
bi fmgtllattm cum timmr inquitctr-diefo
Sbrrnnc-.y untrhx {ham in pftnbttnr utplr
nCfaani/^n tot-'fnifMim ifhe atto notulrc
otvnib,- dmumemtio.odinifif aftipiiS lutxn
Turn cfficmam afcbmttn*. dngfo Legiturtrfpj
cliffy. qamlittruS diarttr. W
• nectflaia. dhtlinattein. di fhmttvm optttrm.
q epfhncto eafunm. -y 4»^ .ytplf.uig»nto^.
ftuc figitntiS -finyltanm apnea* • -.»acinar
Sciinatopitinin fmrapitd»/hAmo^
agttui <*®dinatrt diuifio. £m pnisenfliinrm-
notetrtnim .ifpntr fiinr. iipimam Schnanbi
plena cqputo. £.ilwm oucnurif omuuPanii
nttlbf mdinato.^tttam u ©num ipupittm
finplutt-yyypoittm tintui dmifio rtilnttnr. tn
aktua •? q fc””*1 ’inn eduauCfino »r. dno
newflau lit. £tamdiam .igummrh.ypiuoenr
nre^onhdi faatn- ^naettootUinoMf tin
e^mkenttr CTaniMfpHurr u per
•ptnam fa.amdirXgiimctndi-,''-»p{niinZum
tndirfhum tr{|i0nt«iduabfi Ambipntutr
aftqummr • ^Pl'tvtva #- gmaiter ttte .'du
Utter duafnoMfofcpfimuS. iSji.ttt-g-ttthm
uatv natnf.mi.Utt-uiibmijr. nu. tmnif
ea utair anedfe townn t n itatmtif• n «eflai.i
flint. i^ttunif Loutomim faamtf fionMif-Ju
dKi»m onfintnim open# edtfewtu <nufjy=>.
fiiiroffitvnS tdhum apww aurfannu futop
notrns .yiudiaum opoitrt difpnto Atxfcibon
negotifpS *. finindia atm mtrilatu ' tier atif• \<mm <i aUqntulinn loufti «te
tto • 4mf emm txthnicr- toevo slalanibo.ai''
■oenrnotrtfciun otvmh; ftuffeie .yyfiofis htin
qnam pmanmn ronuru nuftte A”^?$?r.ip
pttiint. urnott'lin^&'ijpintet, aw- fininda
innrfricnltnto’ "Vr-nom pni a Facrcnhr-b
Oitntmvn /ianiiivr.vprt?te»n .^flaudinn oixm
natum A^’iDenir. .£•<& mdma wfbt f min
ftrt.ccdmatn .»loidmatrt. nrm-'&lf.idxGr’
nat. tna ante uofficu atuCw.yffiuenpH
trdrfjxm.w. tninttn enrm <* umtHlcrnimar
q; fiiamdunn fiihttlttattf u ipiurattrotml^
&j»uv .tbf\p!tflitrtfr-di(hibnar. firctX’^rtn"
'tnahra-'tJdiaictica .ytcdmica qr^n^tteiw '
te-in{i^iihe>Xrtb,‘ flepemamr.
Sections 75-79, f. 5v.
137
antrm nonf. L<xofnd^tpcrficm)b
bioatsmfilomonif tt|pwrn ddfonem.tf^
buTt^nb,- aubqtwfhttw note in(p:cicdrfintt
•■y^fenOe ■.
^~^cce~tfttnfcundH e uqmb. rpib; 1‘qnoftn
f qtio noterfb^i ntium ntf^iqenJC*, I’
otvnen &n-\pftabr. t awe i|efmrdtflttam,
£>inidif-,4’ifnrinA’tc ^nvtturt fiiefe; >nolnr
no a Hrcnjnf noon -?fitibi fbitcaro colLinm
flictr hliopnfopin .y.ue-.uwnn pfliflrfu
marfiibtUitate ni ‘ > Q»ior (aftJum lino
ahf Eicc’pfliinao qn: htxr iprpre^tr. 1pee
Ulxr fin ttbitnagt.-Mpn.itv ftuebt nuai
fhn fintr. iVcoCvtn •
^~~>Tofnim noteartf #tm»nce-tnipincttbt
^jtyci'ort’ncB.pfonJr funr. TSicbnfignur
Iqna lima pma fiiA. rvtmn pmam duoie
aev tnQncitM e. ‘?tt otvnm cnif uiara. .7
qiMtf rratanbr funr atm fiitnefamtt utne
mtomf. til modtaf ttmuiihe fitctif. •jfin
£uta inf|eaoe notr^otvneo bid funr tta
fatnOcr. 4 .ifwcttif fiiinojtf - obfnatidmn c-
£tca<trnduiefadirlune. nf;a&ptatzt8e
amam. ^.iquaiatrama uE.ioawutm tv
amim; fn notxt .yfdH {injrieuuvftcemfpi
ctaite. ->otntuw>S; torfieg ftatnnte. initial/
UB an fitiif. ^dnierfid ettern ahf hbno |tn
ttCanec-cd^. •? rawliittf.ri<|wtw. abocta
uotcunodie.'fup ob nw note- finguloiin
guild dub; duobeaer. tnfpiaente.yotonw .
tteGeefeptut. txtitantr. nowffAu ’
jittflibiouun berrffrtftir Jifectnctn'. itafiia
.iffinitlytcpvpaun .l<vctumtznn ottnub;
{He -7 fpialxb; aftaugenemn t imrmoii.rm ;
•ymrcUeamn. f plweintvu-. ■:bud q fuji
numoiata flint ivatittf. tp? mm ^onealh
ttittf. nr pretvunto frepttmi cmuafmpeect
turn . Jtm turn K ftm&. faurut-fiwttim
fir:’.ydrii rteftetn"hi® inpttoc-. Into pfi
nirtf.- piicnicdumrabnotitd» Aatbqud
ur iiotepitrarttur.
f-Vonriftettinrium ru t|.inpncipt0inf|xf
LA ton if notrud omiitm • 1 ■ pnto dtr logr.
dinii a*ttieft>i‘un ^Cpner ftietr .obfiior^.
aftueQMtn fi pt • -zfi erfiia pHdhttr no fur
 Ars Notoria

iewmxrt crymtuv< ^kvpccpm Fq-fri«" jp»n$ dtcte. vfrcitm fqjniwin tndpruohict*

tr ipMTActtißt krrnue- TtSurnc'fie-cüaimcr a&itjrmdinnfltira&baxndnm.'fiaa&iitmfu
aintb,- ditbi p>ffitnr n wttttimÄ» f. Jt^pnuncntn uniuflitto •
diri>: qnt reopttan dieutmir.~flote.'iiir.un- ^^nendinn (i Saliqtu ftk .tar-fotruoluMd;
.mfreriuncr diiedu^^ftttittttir inqutb,-.» >pFnf .i ti£* note Gle-^um tianbe- funt- Tue
fitttmun ru« onnb» dich,- prtünimcÄv.iu- tpr, Selit^tium rinn fime dinrnnöJmrrö
au« mfie.'l.unaquintnbcnina.^feptnna q^nunnanonif^fcrrmn nom^ tbinr netnft
tauna. ^•nonalwnmA. ft-Jptrtainedicfc; ferrr.
crif4?fifti cum otenth; nmtum e qma ilhe di . r^cce>> reiuptif tibUily nulta mcuS neue
tb< ip> ttflrfalomÄr- onünm inum notrp pmCMtH. .d«e0 obfttanlefiint-.'llo
trriUtuf Attfnome aUarrftmr. Jftrtfcrptrt tr^rtmpbilofopbtf“qiiäf uidvfh cumftn
{latthinltrobfmmin* hinauf notrmCpta trnme fiibttt n ttptie uina fcpnma. •rfqinniA
.vnnif reatentur • tvnma. onctfma fepttnia cum cmiib- ftuö
ertttdum faitt q.notc’ArtedtalÄtct q flnpiltödieth feptu» repttentr.^nnnttnn

e »em; infpicumrur.- ettarn omnceqüv- cefunr. olotnaur?-tpif-,*Hvne qrhfao. ur

I tp die- morfi» 1-cntrtttSr fiinr. -rmiaLUv tibi dirunuf aim raamniitutr-fttinoimr
ftuttC-.'-rUbiiö Obern atirduuncc’. .wäu nicLpmutinaTiir-funt-. »;c-lcineuiffacm
loe pcitiC- Ubn autrivtVwictriWe anocuü’ tum. flott Ä.tvr ciuuf nniUnn fofinfhng
pcmcndi (imr. qü norrtftem atie infpict nicvmrma. t« Ilona ümai infpiaenin^ve-
imtiir. ^qnotwice cibem mttznrtiirftatt jrcmhi r. 1V nette airr tiliilnu. i iii.Pir
cüffinmtmr. Iftifimvfufficietia abccer dum f q.qnipfe^muntiauie eaftc unten
tnetn iftmx tum ätirnn • (QjtMnofü.W» dum .?p>bnt dicb; . ‘Momautq uiccm
v. «^vttuiiaU abflmeaw -pcruito ■ t» quamu»- branguU» cum fianiffine ab
' ■ nop nenn pniA .thf uAnariCc ab quam ance- uetuf •? nonnm tcPamtum: plrnair.?per
■£iu?ntamr;'aliqnibpUutndum f q-iutm •ftttcrfrbr- 'jtatnm.ptuintianM e.ficfpt
ttr.uidifh. (>x tum 8 ipt ivfhrt q- qiioties
I jJmaptum note-f •■’übettttverarr. quutbcil mmq: mm tvftncte: omforimcö'HrüiAtte
Io q norr- fmeAii.trtcv-- <iufduvtmar. {Uw qnaf Ijtr btetxatvnttltmr. brernouefin
redpiicc-. aurmCptuiittnir nereflanvm rmr gtilie fmguirfingiUatMn. opitit otvnc? q
{ijmAKfuttcravomib; cimruUh,- aifhdut fiedtnrnnCpntintunir {hur* ncrü timbt
rar. dironnf^dilörtre-pkniuf qiiohceaimq: br
ijf^/ccrabpncipmm nett-ftnin-frtn<vlib;iTi tkvlqtia magninn mJnftntruohtcfe; nottt
xZqcirtntrfpeaalbi. . ^Verbum -falomoine quam^dinrnuf trpetr. fimr-uirHwknic
ab mpetmtioetn abhwnnun'X-.pmilfie^n notnf. öuf rpiL\ ut ne>Utci&lp^fftmtia Vneu
‘^Y'nc'mrJnum tnitm. t'mrö^inpmiffam mmtm ßcinmnu^^ninttia»"fSrnotn au
I pettnnr antmoraf.^uttnm nim. anlhü ^Sotönil^ hw-fciae qtlG&qttmf
1J vi*. ‘‘veritaf* via. “jnber■ aimq: ü^Kcpamr. t'cc-abiunctuuriätxruo
• fV'nttü'v ptttfftMa ffbr-IA• ,mwF furie ipnntywm notä gnalcm •zottmceci’
\-f-iuuA ; fcretc-. - JbfttiTia» dich; fmgiilie inäialtu*Ctm{* *?litnie aüu$.
urSpmiraqntiiha mb; dunmufian »Uar mfyeörtövTu &.Uut-dutlimc ^munw
e>mrn«uf gtnalir.* (peaalir^munnan abio ‘••qu-tannq; dif.-pdlucie ^flaiälih,-
caflinv. 1m mm ntcnmqüfownc» dirtu tja opttt • ftc fiqmif dutnm *2ü tai i qm
otnunartc dixtt^fflbrftohf uoiiioe ojxm. aiiqmböitSaitr^frttr^^ otucvä o ’
nrnbipmörhntum c- Kiwrnfr-dieb,1 finßrur q tnpmiC aqjimU; tttb,- diemtw nonifti tp?
(hnd <^tp\ifotntöcediaqv«rmfrrmnbt iiitduxttmöncf». d^ftttetit&ttliedieb;
,.) cm- <fr ttm an notdffin^ula^oivncö not? Ppttce dicee* mtuallte rtcue < qmni ttr. ar

Sections 80-87, f. 6.

138
 Ars Notoria

«inn qtUfndnt«ifrWw* irufrtunf-rinßtv firTibnj» hi4 mta «Tuftufr» Jtttuccm

ne/pOct oj?tir üink tie lurttia’e^'fo n ftdonfpöfä m^fhenna łmtedre^
bi diönm e. ^Vomti'b; .apituloiS tum q ~ -? nnuvte nrfhifctat crtcmefcat- trnum
timmnÄwu«*ffingulnfrjpniintiitn opnt? ogätomf tut- meta <r iannnammemn.
ionC<müb> .«fapmita»
5pwnMjro«ńl>* »tfclpinilÄ* erömb» iam
ottnnb; iam^_ atklä feculo^fctala/^fta
Ą^ninti.il‘aęmm vr ' eft- omno ttia an er- tjonteA
L onapttton < 3 xachtt'. iJ-xamtatat'.^c
4tutm^ftMnn ’P’l1 liäfr i li taro q- iti$na
• ukotwitb.-
uk .ynnnamidifr orömk* fine*twcifipät
finer tiocnCipm gomatar. ctttUuw 'Lett^mö^n.Xw .
capitultoS. tnmnipnunttaafrfiiTrt-« ć'm' ' wnwon. letatvofeedefinon;Vitpa
ithqnrf. imOihihk j«k flhttbq*«»»* tH* tiimmand , "heUerr; n Ge^ctowi •
TpivTiontpm notn Color.anoa. Jmyn dimm« "f ftfrüme
enfrf int fencö envncin qiirntxt rlcelqttfri oianonif^
j»n~ oröneo no tttjfi di a» • In* Ü . im Mnüjj ftmtiuais utfi.biUum<?m
ttf r.- nr mrrlhictr-rAP afcaf- ^euio «ti
darrmb; aqnntlen.’ tmn thtör^annaM
tfnąiitofr finaiiLau,ikii’nij»titinnanÄn/.
<irk4ilHmmm fritrfaiflrtU^fnc.
a uifikUum bä datitas etha cdeftnu
f^mnmmOmmnuin ialußfmtrfiaenß
q? “p tttane« aago- qm onüa tuHh aü qm fi
arrr- qintnwduae omia q mbcnmrw
flcfiinrancfroiütie& rtrnntn qnnnfailu. fuut*. .?q nömöentin* o fimn m cflabtU dif
ainnn hlillnnn •rmcptniaxt pömccham -pfitto- difttTn© cęłcnfiea nenn tmrtn ineF
aifr^pcninr.-rlpeaalie rlrrląpr- abfäibü täbile-HxitMncDzinnnn <vcaUhna tmd
ttiri^waüjpnimttante-iünr« urqnani intuin -?Hitd.hgtnnam meam. äugt* mono
q: nota imimuiq’ ahfinfpftrw.'anrncfr nwnmearn •ofinu -fiunndiam meä l cqxcU
anfivpencifr tyiie>invnco diatc». l*crp mm rcts» Unajutn meant tnfiicnnie ■? inffytii
macro. , ns nufr. nt ftimltmr mebUata; fifwiamt'.
/^ps>etonwa. 2m-:aw.-,. »S^merd. *%i ne-tufr emd; into {irmfigmta. mficnlafknW .
\_/r.iauiiatrn< {^cmegea-« öcrrnmonai- ' 311a fr eia no quasi ♦
^itaplmtn. fnbcpotoni£itcmul. £aęvta ¥• crtrqiim«tnfiiiitfr’nic. tnaicftatwm
nvmnn i JdxnumattHo > ^cMrUmtatan. jgj^ftLittnftn attydiliafluatabiliumann
^nirna^KU. £ńrtno&. atqpton. Cftthc. fisnJmxy^ ,'|vnf'finitwmr;n ntnnun ntftxä in
'kmv. 3min. ~|fktöpno erpyTitöntfciv J mc, e; aufenatne-infrpienrta andie. inftabilt
ms eiuftein* antiu* fenfiiö mci •’.vdilKtce (artattf-rufr; ifin
rT^cmmifrÄ i'oflvnti&ihs ..»nimftbike. metttrf]» tnene/m rcmtftm^TnanatUKąi
j \/ń‘i«ntr. intdh/Ttbihe. mfiudmnv? uolutimtid tnfr. Qjn uuiifi «itgnae » pjxnG
.«li ^Arfxmgelu rcdrfhs unite© ,. f««U {mU^ämen •
aefiteta-nr. cuf maieftntr cmalitatqj1 Ä[ ftefitnvotöii« q im,yfrri tetrnr. fcni^fiml’
«jeme-^pdk mcocivav; aftnane entn dm flI qnottcn^finnqi^faitnttir^ff« hintblSJuat
qm mnifrinfeatu^ik^. ~lKcöfr|» ■ mpihhiUk ivłiqutrncerflaićfiinr.fi{)Mrt
finopmfr^Mtt© ilUiio onimd. beröf« 1I .^dEaötiwIqfiojn-^tinw. qii ■notätvnalö.F
oróańomffinemtafr nowo* II natä miauuf h&muni amiin oivmiiufriue
nunre« fee ptv onüpemm© grand! lnmifr.ynnnn.iiruoineti;. ilł^oińrirfr-m’*
i »LJmoiie pxs mass. •?mdtnaante tn am ■pjinfdicca leinet finjniLiin dienn Vcnmim
ad cnationcm meom. mm er nottC rlKVliYvirtvr.tir i «Hu oś .’adhem
jgjt'tntm. Getornelmi: „ samae. oirnas an itnainqnäq: nołnni ftpncsdirtö.
C/dntm- ^camwHi -"Irqmccx. &mna *?fi juqiiam fä.äm liSdictam» L’ nfifican»
[ mai. tfr-tti. ta. fir r fimf 0 1’JCamtant». Vo’itanimniv. fiu bcalilfr Ir
muonm'-ftenntr.. moi fnnini6. .ihqiub^Radifa'Iiuomx-HO

Sections 88-97, f. 6v.

139
 Ars Notoria

iioludi.' ipin quem txautuf w . tjüfptww qm ö m imfeu? prattwa f rua. txffilh fare- _
pufTw;’ ut cab quotnaunqi icgsttA’fipuer faemtzt . TJuerratimviin mea tfhtk coimeü
ftirir mmpn& mtcilt$tnttt<Ugeftń nnn t* tfptauiali’mund: cogttatiöTiib.- cxncvtuu?
ptr iibmn dt> ubum Lquir; •?rianaibtib m ubidmiG emuft’fismeaa&mö ünr potenttr
rdlcętuf fiicw tejütr ca™ fcptio> dirt»« fepte. ernnfuir. 4 trpmr. «t ftittm mie ‘tactxbf
tfrftnouttn gnialiinrurum. oiöntb; tbiG^ mrenttie wiectsr. •? w m pemwn andia
— -•* t.
ftrtrtioUiei&f atfonn ottro^ftm^tniUu mci. utrftfftfiß«« ‘iftmarx-raatatud
t/pJrit-'Jpüi <? CHVwtm umf ä an am ftta cUUßatn te:\wttmmr-Mne»«turi|Äfanm .
fmeiän tegnim four dicuiitiit* I’ ^<tbqua firdutmT
qüv tnagat.mipbitenu' breffiatttam. Jr-^ iMuttm anttnx canpone rrtn ■ iFvpb ci r <w
otümb,- iiU^ fofonwn .nt. Ibtc« o*5»iw fo dLicipiunt
. perpra b’notapniA r tna
O-rquiunt rlicntane.p'mnafo i-Ortypreqimr 7
tao Hiev non© pGimar- ń jpoffiaa aiquaf I
■ ^ßimjnr.injmmvrfu]iwn atüninnfunr
ofttiurfitntu ■jnapofo qut •»• I ?.tn cimMiornf rhtolope; dia >iftvtW££e
\0 pattr imfr aquojpetrht’ arnttomnnq*®;
y^/aizmAgcnitufo m*rrm«piwWMU*i a I ümr. Rtr.iinfhpHe.iń incftHbilem nohnn
aiidtalirpt» n&ß mcao qme m«34|«mcu <J 4’in:nn <Jnt» (' ur ipofiinn .^Jlbt ęrplemtrt
prefit». rttdirmuauam faiirnbturfodic. flmr ems q |X»1hiU4h -rTuffiacuaJ qufrt-
iirroccam miquob luabthenaa# tu&sf?« abfuarcr auctwitrttt- falo manto. Icrua /W/VXf-juA
ucrnnir abtt tdsri te& •rincretUiU i ut.p ant»- .nń>nur<tbnv-. tfrtrqum
rqrtn..7curomen vjc rme-radiatitfiur fmt Kiium iiiquib pofhitafhf-zörnontnieftit .
tmütmn.awgfoub efitcar mbear-rabuime. bili txr,**6 ‘ ^Pn0 f
•']tiapofofcxraabiiotnm tfouf. t’Abnotzitn norm ' .
udtoy inaiMm«täitv. floi£ artoiS
bcniiäf AÖtpte qiunqiueo ivahtnfa«
A>t£cmMtan. Acnarivxr. *'Cm*aei. <S5eth»nat.
efpuAiuvl. GSr^nnVitbci. öcconwxsr.aq»
O ublumimq; anM.W»oy
mancuhfi finfpfifttitae Lvmcfafomon
|

itnuton. Cieępchn • öJinü-. iclfiic'tii. .ixnntna note piciftraii acvep • ffoUo »uitw
<Pc^inMtaŁ.<r<rlvłoęptai. óatmet. flhmH.
^’trłtt^m.n. vjnna. flabiaHi». ftmmoft.
~(ftv rfoufotäntb etufoetn*
ercmenuder-Tdiferthnomuunagni
feträaiÄ'bC’Xteä. rnf----af nwhslw
nenn ttium fern ■. •"plre feä {aomtaicela
nfica tütem mcam urtnttw ficaqiu ini
ttnoia mö.' ?ftc olnim toffib; mew.pn-t»
Utawi cnniiim. Amen*
ncipoińfąmma qrfinia ownnm -T^rpir
ińhun qüu papnfabnoiaitttcfl&lniełn qä
utama tHckgie; tuguia quamtei Kilxiiv
Atifrukxv. txrpnapium oiüntT jö'puffa
CTidiiniäq.ucrroinib. iioufapetm tump
fcflübilinortbpear. juap omao.
pkö wnnf picnntö mtwi cfonötmtumoi
um fama tma •?reevpcu> popalą mf|j(
iatmfacattf»s.‘?aiuun üfatca tmftn brau
munr cttHÄ 'utmt/ut tantum nob fern«
Ue ruia faenhax» mlpuurt dt^xeiä auumtib^- City i.? i pt fimr q mlpcaahb; ^CtWim Mliit
ecfuxiMtttm .<■? audltut1 aJoinmo; ncrtiibircp
n: crjMudcts.'ri» ffomttim mw oinib*
r. .‘ßtViunnv tmninnf» toim Kwnotn
ciitf obf iiantanM
ht q flip mf O«nr • dihfftntm
tytce qiic Ravte. tain inoht twur -titiom
bT. «7 vnota tnefläbiU • canr ttbijpuibcnrer
urannqi mfpeivin- cqatmq: ttbrpntfior
unietÄ'. ałw •: tultedia* • <fro»n nb‘ «w
mifba A^virtirtr ßttnntn nawinne-
rtlluin; jaTtvj itfwqiiembifq*rt ofhenbctr
incffabihraitodt. -tquiog? nbtfomibuf
notif.qptniett-, fuma incctxv-obfua« et
cnnnea fteäimtm e-na.pnuntta.. dtwfaj
qin Kux# ficpTpritm eduufe.-yfaernt'
tiAlkl flörfiipiuf eUctumc.^m atfbi
„vrtt? .Tapi enr dir tllo age renfte • i»t.utt
.Hiquibfocae: piculum qmtem
inflantj abatu# qinRim-nonf-TcmmlV

Sections 98-103, f. 7.

140
 Ars Notoria
'Jftaiunc mdfiibihauiM owmf
jofeł • a-j*ai*U Gfanoi • a^nuft. tfrtafet
■ fimrptMtdf mniiim ahtńn ..ypapurthmla
I tprąuaź dicwtr Ainr. "Kv erpUniimm rot)
I ppi0.*fxquxm ce-opjotrplcm wrm traufalu}.
J platiufdtcrfiiirbrtatatr iieaee ucplihim
madlllGofiimcmilG )młMtó- oinmm dnum
ctjtmtuńn fcicttn ofhrridir.*7fif»Vpf<rTttjn *
(ftrcip dirnm farcnim d.ir qiabbuc q&»m
fkuiM >; nona łtftinr. putępn» mfltmm. q
fllnO pnunn r.
Z^um jr-amih,' ahb; gnabr <’£i?v uoUifie.
yjfinirtdnfiigtiir pmrniftmmm rcpw.
•y nwmcma& *y naMfe$nwnnatoein aim otv
mb; fiiifdiligror ofu*- i&uafct .uitrluna
irmuim otbnuin tłiwltęir^nnmaw-im
abfuabus. <j]itoncn&ałmqttuna"iiu> fiit
łtrinogidmti dFt&wi mbiror. '{UbnkufU
tu« mfptcuw; arq-. gjjóu (optima audiaf.
* Wmitrracndjnn r;\yfiruiuw Jbma
I JttuChsż n i»ref.’ i' fi ł ip» infpmtndi na
ftieit mm fiiajitrif-.' fi iNm mmuf dr ajMtt»
tufefffttuf. ifapiniM aiue-Kpup. dubitn
fh.taJbuf finfimn dubsmftm*>Tntnnan
J JuCunt;’ fi?fiigioLUlrt‘Mrerintttai • l>v
aubfaafcpna uli* fiń q jńkmnn mfimt
jbergtriitu mamfffiue uitrdicmhi infhni
tiuuf. •y.yftmdł aliub dtowcm^ufltt-fit
critóludofqinfyiufpw crptwr. drtiam
•yN? luficrfdttita repiintu mttfr. dń7t’r
qiumm uoluci* |«w ttptntr ftt flint- q
f|vaa1if agenta ‘yobfttanM futir.tfiim br
dwkgta udtifii prdl<»qiurbiftiirinfti
mnflmr. nuUurobfnant^r.Trpna .uir
atnu tłf.ifwma fitnr noftCyonnub,'
U’ Mtanoetfa driRnitf/"bcram irfhtr
^Ffdhumti&luun tum jnnintuute.ftu
Fipiu agiM&iMhtu fifinrrahif dic-pmic
nf mfh tutti pnf fi cvmj pew oufu.ur.-y
fi duw mtngtrflhf fiuw.* notAro,euaaia
bitm*op> ift- nnat«ib; nufCtune-ptuir
dicpobf-tht cpnl^iae.^iTCłiamiin. Iwa'
-fltnfgflliffiicfe mdie-duaf Kuna .'ńmbt
treawf. ‘i&apiair gnaliby ficdiffimtiue-
ajuwr. 5wfattf beiftw Aiotttntnm -ytltu
Sections 104-111, f. 7v.
141
4 riuuw,£n»onum ftaeniwijs. fiu t&rónu
tnatttMtó Jcgentuy. Cuj^ipiftCTtd^.b
ccnaaŁu-p ipSi ntiLU axdflarpbliiufatw.£
fi entńt dścnihr.^nbi^ facmtzUib; uifunui
jinnciti fittpienr ąjuri uoiuctem
oper nr wa’crp?f..irtfl. op fi?dilKn.mntć.'
tncayittiLa piirttrtn. b?qmb; ma fdiflt
nitw£«iHain.
tAwtidum dwlQua pfinmnim p>
L^rtlń •’pim •rH*0tmn tam
ymtnie? rtwląjt^ qutnqi fipuiC rq»F• .»fiS
rococpptttp ceffianę'. fwnbipmt inapnim
fipmntu •tfier • • nr dfimun. o^frcflaiuni
tjnilęm ? urn o mm uigmct^iwmiai angu
lo»> iłdbtr.rrm aimotńnib; fuwfiąennemau
amb^tcne. (FrtCijnxtrdinmufqj>uifiam
iitfri* angfó pmonfhttir fiilytiflodia ma
|'hdbr. •yfubńJdicftnniinr.,.
■ -fhtfinirq ojnC jwtiemtrfimrltmt fwj ęr <
I pleniatm»W pnapinm cnnuf rcfenun.^
■fiilmncm nouatn ayaełLtt'. Stones tmm
ifhr an «fpenahr. Ą.ifi« gnaht? dmpjffr
abfidUł® <Mpituii& th|n 4tte p
nktrojwn nohirif«. tpifottńnb. dicttf
oidinr.' |vtt? mquaulxr Jhirni magnamtfr
•faennam. arómb; 014: dic& nq.- tpl naqi
luna abfuitnm flun . £•>: mni nnpję ffiihr i
rptf abfiMtir Nter q.ditb; quib; vwn« iftt-
Jtfitimtut*. K-pewrtttf obfuandump ctnma
Hb; luruir gttir.*.ym<tnmr S tummoT fujj,
fliuf/d&piaf*iriqtn pumiatur; abąuib
plifiwidum pqub qituotfini:m
fcchoirtgmno fMbEdhiK^ńfaiamanfiits*»
.tuw ur» tfgo ilYnC’ ownro <p lam r? nmui
nroffinbnn mmmńi-pHIitmrmtpf tmjub
iUa<5in<łpnnairincaflitrttv:btii& urbrtpn»
nicKYnufojum'. flfHfiinrmumim exiv-
piodnut an quae tiim €ai?<]uib’ dubitd^’
puncuolut» urfinrtJilaflngubc« fiiaaidmc
pjTin. abfq; ali^difhnrtre datiTcrnr.Iflzt
■Tunr tiquib; dubitzttab* uftutn mpitulafi
lafojtlnrann omib,- fitbmattpttf ;tbf,«trt
Aheniir.ypMTłinr tpe-dtitufliw-d»!?« *^VKi
fitttfr cipubr-yfic puffhhwmnufitn |vftur.
óri.rr fiumdtim rq-/w nimmcón qaam
cnUafctt otłm? ;fiiotrtń Cipaiif fil hi
 Ars Notoria
Wirt-Tubttltrmfhtw «’»>« inraiw f*t«cn
f rritlLt flmtteqtttb; ttbi tetnccpa dubitertU'.
Aremmiatn r Annul npofiitpm q muo ftp
arifcinht •’Ihtttt muttu
ttujg-itciiino tarn fiibhm jjCMttftwn nccrfia
dutn’xbiitw urfi’vi. h ojjfhibuni btu*pn
upturn. Gt fie are 1 wdtrprttiTn r. Cvninnr
.tit fict ictutufi rdiutnnnt. iifntm ten .wtna
rimnit*oftcnfcnuur. Iwcrii
.in rem in.i/mahiiin opmxtn ntligionif atut
qinturntlhtuta c-*2>i fiemm AhquiO aluiO
eteqmidnbt&tft maun pte» {uirquareuoi
flibfenqitmnitm atiurt Ubemlttim rffttuun
ptenate oognttonif biitsr. q- fiqntif
dflnpmm t.wnct ^oipitiila^p-nMrttyHW
tuiiif f’fitntrtuif cfi marnnaivrpiT
tmeiis fubfeqummu oivntix ppte&tyuah
pore* iitiire-monlwY. J jv-cth oiwtt {iint-te
qinb; falontotx TvinuHtf.ur/Vitv-uofoniun
1fhn? fanned (iqutfpfiintucrfir.' I'utnournth*
mlpfluG fiirit . ittienr.itq; fbbtilir. (R-Nap
fig otvmh,- angplul'inaftnitf att-* kx'ftcm;
tam'c*ct-e.*qufcgmaniitrt tnmmrimmr. ■
4bh'-5<imtbtuetMie-facmtt aun piaftcam.i
fpta falcnnon trr ftipft almtvauini morptv
tuitninm ofliYrt- uidirlibutm muolumni
Un ten r. •■» m Ubio fqnptztG otnts tec£-*? fufc
flpuLtG own« fignum figtlli aiiteli^aitdi
nitnifpn-7»fimrqfignautt te,: -rqUmitecr
elufit'.iandih; nrfit'dumtl timui erttevf
fienbetn winunnn cufkdiinr cas.
nd; mfiteUb; faiG nor. opmeerpio.$.qM|
.iliqutfrmagnnm riptnidle-fanb; fiii mate
•thq miltudtprfa faerie negenuu; fifiqnuf
n potir. 01m tprquaumq; lurtneir. Imgohw
diair. ptnaf^ptix artb- UIhIiIv fyiialif fingn
la. I fsrialrrwc.pmb; itt-dicmtrTtmr.
item quorumq-. nolucie qr-z'dimdau 1". (lib
{equertm^p-BU- ftib<bqiicnb;Hhililv fiimh
m. -?fi fimrtoaijn onp .ittP» 1ubuui;'abR
abqua rpcasdiffiniKv-tpif'jpnitnna.vepj
tc+ic otvnco. ‘An aiwo fiptiUo c an oto-nee
l'notate cm« quotient uolueiG plme niamfir
fte rerm^pniniaartAtnm ttinfpnuntia.
hce crti! .'frbue./atftr-iiinendum r. hec
tpiy. onttv tnna. mtm Ol*tA
Sections 112-115, f. 8.
mnipttw tTt<'ptenfibih0.n,.dB,-ifibiUG t>&.
O
Ateufl rtriir nenn ftm mum. cjro mdupitiB
.»rotfrtnmue ptrtnttn-frrotltn» otwn incnm •>
mteUfaummcuin af remplnm -Tcm ttuun. cr
idktntttjueniGiCTn.bafllftv nbiJxdtrbS
mf 0-ftvntene tr dm ‘?ctxatotm meum. .-mr
trnabilcm matimtm ttiain.'-rmuoro gibfain
clemtiatn tuam. 11 infiret-ltdir fanettw m
fimrattm mcam. ft ttitemmr&inft bQtnbt?
tr«um •; qiumoyfi >?aanm .<'1115 ;uie puemp
demtzi ertite i«ne tue-ftficacfrtettnam tnbuifhi
•xftt'Txdir m fn£t«i& drtmoBiA qua tnflw^fh
,f-uoGtuOG^plHfit 'fleet» pjfiufh monir. intaj
•ifw- tatnam- aMijlrmwbi latoiF flic quant
nefiKTo. »rnumtu ofcum mwn ab qpib; nwa
nttft. ’innntH cmincnin ntntam ttrtnni?cnn
abimajrnicin ?fmnlttudnir ttiax create dtjr
tuf cofftaudimr ’ mfhtia tm etore itiruum
tr tua .?replf.innnatn mca (acha fnt tniax ttt
amittfupt» uratnbtUm nituinntdie- mifato
unin tuav.-Tteiirtev mqpib. tiu& nugntf.
dpiacf wimrawem maninm# twn$‘. u fm
v>pt ^rc- me- 4biumC?rcnaimmr; ctaltowan
tcf r^feietia mca cmur mtn nfitetm m.tt^epu
let- mmfpKiu. nto-cctaUrnomtiuun q>tonn
et'?rpertti flted tu&£. fafiatntc-bodie.umfiter
iiuia.-r'fprpfaru ^cautrtt^/iflnntt. Ucttjatmt'
qrtnn tefitero.f abephtfoa «altar: raohnat
illuimnatuf: citkpatn teepnonam tr. *?fa»p
faptam •ntucihjVtm brfrcteti& tmrq hunt
nib; foeitht jyrmfifh.rfii rfr fiUt tet iuiu
gtnitr . ctu an fentla ted it muta -prF nnan:
M -.h luUt.-^noriifcnt burnt gH'uHitm
eftabtir inftrumni ^renprafytvncum a
jpfptmr .itlpiam etpedttn -rUtenttn -?nbfo
luhtni u qntapttb pnihilaneof nttwi tma»?
uohnuate- dtfpmatur. .'tmiifaxw men fbene
plaaw motadiatttt'.' ?aftntam fitbftffar. A
■pen inbonttnr te- -»ptr uiwtnaKAjn mftm''
tm qtte.v|jnt(h;ptvpfaiifh>atr..*cpr<^ti'
{hjxtu>ni* ainaain.yfaaC‘?Mc<jb. 40m
teiliamdum ^diflrncndm. .tduidiamdum.
«»ufape Ivdte.^mC'tvmme-^TPG ontua flSzs
taco« Attp mnun fc^- cridhuni mubmiJu.
flptinan ttuq; tatbiUe ‘tlUttr dfiaarfrmfo _
dte^inreUecru.
142
 Ars Notoria
«Pitino ftomhi •
>TW tore wroc regum etvmuir tiwimnttm
i R^vcvcwieigmti^ib« mtrtigt-lxxi<rclamo
' wn fp» ma * ? and <0 mci grmttrtm n cg
mutant mep ę M® 4» coib? «.'into $• titp’
»vfpircm intrbominutn -rfitawm mon.
""tana. romm?in«M3 nim fpu nono mop
tnttłlcttn ca’nifmee-tnalo. pneintrllo:
nim ttium fcńi tommt. •? uifrr.nnf- q.malu
rrontniń^ę mriltjmintrionum itdtlotto
qiiATcftmn.ifhmcfilunO nic. mcrtliarmnu
tbu.lt matniami. tftsuidi Cotntne- fvrnunr
am q damo aott Ivdtc ctrUua ootioo cant»
mer. >mo&r u *)fiterano *tntctiwan6 «flifto
dinio mitnbiba bfcprurm legie cno utuifta
nif imufhficptóinb; nuf; pnaletm tuoadpec
nu aOnfcni fi*rtnim dtatoli .'€r<uidi’nr\f
mme-be nie<\lp:mMJ' cfh? mtcbi qa; piafina t
me ;>wfltnw-m Kdic tniain t»am.rpo I
rtgc in iiao filu tatr-. nrpottr «fatin'- b’ftmtv J
qni be co. iit<5fcptun & abcpro mtrf Jcvtntn
pfitLim •♦inteUtgatn mm»nr.a' i;ta;
u neniat «ttqutcfatt grti 4j» fa inr.t r.
Cerna oti\pftabthMtr- mog
r^Yónfitcoi rego tvu f•? in dtgn ur hewtc 09
k„>^*ptfcdi?fvrodiro2 ovum ntfibiluu??
niflbtUitrn cmnua^ oiiu umtut .itqi
toną»dt^enf»to2 atn; Li’gtttn gabfcondte
taplam rtia'm ciaam 3<iipbi«?rc|’bt6. im
n» ilia bcdiroci maun. ?fkibiirfile mtoUcr
tiimmtu -.'mtrinea. -ettdthtrenrr ńcofaąx
.’fltma mdit fiJpme- unlttif tin btnmnr. utr
ptfiie inoua ttifintdligcne tffuw* iinan
Mttif tiiie.‘ «emunt«tnf abo^ib; mmttue
paxatan monftf-piiakain uifcbtiitie fas.
"jS-rotu mtfcncoiHtflinic-<'0ip>tennflimr be;'
utv twice mco& 'apmeinn tadie-gtitfp&e.
«7ignt uifitatontftne nifiti me-Indic;?
fomtiidinc- fHtbibtihe tue -pi-ncęt-luinboe
incoel •rtuculiim «ftinarónif »aTbęrńtma
fcpnineujmtn maiS ?dmgt- itirrmeami
wmao tuae> «to^i manuinn
fpmmtinn ntVacbiaho utnie^pćaatoi«,
mco2£> foidib; -plullcam ^^ftnrei* fobiom
itutu nia^..Jtdi»iva m Ixdie qmacuimu
tn«-. ?.wjjeiimcjn ■<n intHlotummaun
Sections 116-119, f. 8v.
143
.»Inurm mam fpin fem stq; ?ftanaam,
ii nio^ib- fqmmvx twin frenAif fpe me
o-fojtcntl* •? uigcatl cvitr onmne
itdicJahjiaii tt"tttfmcr.'?fiabnoUint36 tu
a nnr-cZv'odo nnttr nt warn ^foiahaem
f|>mftTn. urmcfhbilitttv^rtnamuntar
■rffńti ^wnttmtni ^fttatnntełligrndi qttfi
onn. mcrcefenfiome annUnm. Amen.
Qnacn eno ^n.nim ć majjnd falomonw;
uA»j*m opuf bo num ^tgtncUun.
j I J riw*. Acin-uvuei . «uo»oa. s5a-jcl.
I 5jma.tamai .óćcmnatnai* £»aUtbid •
bcępmiet. tfiscjcti. ilatiwniam .dama
•zaiv. ftephonai. cnois- ikaima. o>cconea
‘JZ.mmiacii.45co»noiriA<. Amamin .Xiciotb.
‘Accmcłor. (fance. iSanicp* £»crnox •
crann. oiaUfMtve. tfilamai. Q$cnn-
be.’tmfenwj® te. demcns?** pa
nene omu oe. fit mPoiircmiiAp?fli
bTlia ctctwin. <t.x»mua hriiCtncwpdiihtt
tent mea. mifetwe m Mic fw miftne co
abepcnttrti. qmwftibtnincam poimpnr-
nar nic miam mutans otuhfh laam • o
fin* m hodit poiinpotoh tnenniMlast qm
wfiben»- u ńnajniifianam opm tuoi^br
lamtuf. pioftńnfttie po efftmnax ftucuir atq:
tutr. famom, abefho dcmtiffiino p*
ejnmco, «inlhntrmrbniięmr. .Inmifde
mnffime femp iiinawnte- fiubei* ?afiina
mt; alpim pnapiho fpofre'bett»’. ofoh&t
iwhe-optif incmn. •itovmr itt-ambiucm
T fqmme cci. -tądier imultittidmr cfRncn
ne jtte-ct. •riinpraif flmmnia cte fafllnn.
cmttntvcoidie met leuficw fitt-<cpttitt«M«n
fpc far efficaao trfteuivtt- caitanf laĄibme rr
pirn- caitatem cńunn . effulflx-ntt* mie et
umtficer. fit fme qticfo gta ma tommebó
Ą nun car fbn^rme-miilnpUcrt'; f.ma onni
nr ainm.u mou, pietncc demtte' tuc tiicf&
bilie;-rcpfci • tn an mein bocUe. ncj.awdt
cm tnteUignmi Vlcgroicq-mtnictcw cuflo
dvnn: fcj. mtrłlrret» citftadiam • ?<]• civftodt
ax> memoirtencatn -.'piw łaemm pphi
tn. cocpmtcipR pire let ilmai-
iS)mntnow nbqmtup firfiif crtictM-fCrm
tiCŁŁ amfintattór.^.
 Ars Notoria

f) trpater imftttcoa filu clnnrä fp^ferr d>. eflttwm. •? gmm ttuun fcutib,- mera zc
f nMf^unufö»»*Tineftwnabrtra. ah»O‘in crunoÄt *7 mfira me utfimnor fw mi. nrq>
crmAciH a cXnif fine «rpertamiatiui rate labe
^1 cw.’ lipa» n«ń nu*ni fern fup. cffln entr equi
tatrttiam.' qnanniif. tgno-ftaa« mduUtrae > 0>i dmmemewdBbiV iiu« atwienr pir
ęmifawra m mifem -prevu pfuiim. »zoffia taC qun pnnpio cetuni •? «nm crearr train
umq- agjjfn» fi«n orlittamre cqtnoftcnlHfa Ift1. iiu fpnaVf magna müirftnuw. quatv
curia rffirarit nißiüb,* meiö mpatauau- tmnem pdinini aögrr aömifle pmantfinttu
ftar. -.Ijpinnchi tvminr aun»mca& uran truaatr- dignatiifee -zq» m»cbt indtaum
diam.'ertjr lunnn oculOLS.iqftns ü nttann fiiriianefenfiiffiiailtaae mtcikttuT AbftuUt
dtiam .iiHtöineaö nranriiain, finta ma m»mmi ?<pw «»1 .tttmgtne ndfincm itf;
luifmeaa nt operer. «ifinia -pedee» mci» ur Aöüncni ftanr.'-rdiAxnicns einä fiiautt. re
ambuUm. evpcrh n.itre cod memn urole Ihnut.quaamif qw mdupute -2 mifer prc
rrfuum ?finnam .jloquarr piaatafirp Gitin, f räjHb,- nnö ^firńatitóF inbra q wfiteit)
aMwnd’xm nonnnts tiuq-c Imdictitmtn fiibniiö eftiaar. pfptqu •yfanmb’ tplia-fcp
finila*; S pftzintta mev .’-v^ 40^ ttplia para -T fili i fß» fei • ügiencr aoopi
finiw- nnttttm re abmimlhante- giü . ibn • ßctmia ow
iQirtcilo fenfiiö ennd «janimr mee aö "i pnitTttroftfltenid/.fÄ!“ mpettttwärgtr
trhłdietwnmrbG. •T^etwcoxmetn set Ad mtcłlijywdtim
Abte iitApiaccar iwhr prmituf nie vfptr 'V\ri;6 uuiaiä' wtnmatüv'. coüiicreatuia
tu tue; -rpiaoanr ub« *7opa ioßjwni ppu mitifibiV. abmjxtice fbamtem.
U nn:?fid|XTnr Kdirornipe magmmiä enitb- omüi • fingtiira fimmta; jjfitr tbums
nia < fiufcnb; mera ? diMmur tnrö mea fäailcatrm lutr^JequaUtatr nuten?. Qng&j?
.w rffi.Glii,n taiftociie bjMtidntn • i crHiar •vlemmift grr ttieftra Ugitatr n^töpenfbiö»
diqunn mm inl,»ir mco. *7gennmergni effunte irri ir gnü ß» <ä i cxn<r üinmam
ni.i incüttrmro. iirq-legw.'t rnfpcrco. •mcam.•jmumpucii üne tona fw fiä •
r Audi en? .'fici 11 relief atum wtrlliftam botutne mtmoiwn 'botmncm. *?feGintti
fic atftmnr bAbmam cuftncliain fir memo Tine TTroi? ittetnr qua 411^06 rnftrnrifti
nr mimt tarob tencam • u inlepnna^s nia t'ftnma nielaixitatr qna apnapio fiwetu
rum uaice-fiintwtira ctadicanw menne <>g crwiifh. urc^wmiefeptffiJime gtt-tmi
■funMniaim (jtieracquififlfr-. eöelcrtnnra netu ß» tui aq; fußuua lerttfalcnt cnm
Iopihf itMinium nuns’ uiftittąt epuce in f• itimu ftnentee öritVano pntttrm Ąłhmr.
ttó ccoipcnra pfeueuthr adepta cufbodia ♦/ ‘r.mnnemee'fonteirncrtnt; teplnnt-.Ą
ßift tintoinniepirtniie fine o^nrc-gin f trutciir awtatr qua Jv ccto iiemfh. fiiper
Iwftimn uifibilium fiurnnnfilniiiiTn mad aqua» inateftatie turlmf'Cwmtt Tme-^
ufiuinmn infidue atrp ufiitbW ftautnm ■fiiiiawe mafrnafUa. Simen • pXotjao«»
fiyjiflr. fiepmnA^frpnHftcć-rgenił t fr? rnem|>ljW‘;
gz aminum ixgnei* fiuepoteftarum uifi 5j ftnmra crtv-ß» fä • ■eeftainftttte-.
btlttim -7 inuiftlulnim difpenfattn rV^mfitetn t tmtnner tö |nf cnmumlxriir.
difpofitoibö cnnium uoifimnim oidmarm ii r ■ qm cdeflw ferma
qmcciMH* i»»’“« trtiekra
»«»»»»w.«ftuftura ■ >
btnmnrofilii roouftonifpi» difponrłniir ~ bpx». fuplictfmaifflate-tanm. iifrater*?
pjteftntrni wbiłem <? uitenUe^WidinalcS pturpo ce^itawiuim mcu* Indie; -*dtngśr
dir ucimitate mam ftaonum fbnpiaato 71 owtiee tnee vpqxau tuo.* -racnoce tueef
tuoi.jm £tnin num nmlnfbimFinbeiilfr ^fperni ceidhum haiat piuUanr: ctamo
täte difpenfa üftite jpmuf ü aj> mulutu a&trhxtirrö ejanchcUmoirmtum^ in
dine pvaattnr moßu tvfptaen* m qCcfiwo axtnifoo 4btef fiifapr gttnimm andiśmt!.
apitandi.7 mteßt^tndi ^inemoAirteniie ifriüto todießim metinr. <* ?. mniam mfąi

Sections 120-124, f. 9.

144
 Ars Notoria

.7 cognation cs meae ńnannf tins purr ms ♦flscflicL.SotWr. aatel.Scmiftns.a

•7 fś ni&. «tnr mc-atr ftnaam wlicnun. timm motal . <9tb» . r> miodni »Sannab.ty.
tuam ietinam Jmc •'cmlttnir -nom niumt» tfhortnHMtó^cmoiOG. tkatns. fr-mini.
nntn itnr. C'icmtifltmc -fpś fcöt*. cnitotn <prtt>. Cśfmtf.. . ocmoi. ömimet.
tn& cfm auuftmä itmplvnfibius auufpet* Sonet • Sentctatłnn. Cccüi. ATemoiton.
fctua claiW.'cu cdi ^tre plena .Icoicrtm. (Tlst. Scphinamai
-funt-, afpiraf trfptcc’. mrenbe-. aobancoßt (Plwttvö. Tomarivnios. Arivunit'. »cnon.
wm mcam. .?qmtnttit nctninw Utidieiv tfri-utraniagol. £»ctbar. Sennainagtl. tfHi
P’pctto intue- prt*fcrtrnii°> diQxnftW' ■’PLc nnoriw. duxetol. plwmal . «pegrem». &
amr. Jwmrgoinme. He-pimOTnröftm rpnnottvn .lautonoe». Seplagict. »Fgf
4ttm. regcinc. •igtärtuar'nnne-fidiiscö mar. Stnnancl» .Irhinfirit». Itongrhil.
Jtnge. urfjÄmuf fine inncat.-mjbr.^rm jkqyotn. tfii enmar. tfhamtvn. tf»ecamai.
3v«tma ot» -t&umiifc|; cutn 4p (Fnomoe. 6e-zcorto$. S.itnr. iFegouai. f-ile
panOvue» »bFiiatcvm. famn .Acphirnanvt ton . £>ala rai .Sama
Y^Xommcqiüa f’imatwifqpfuio rhedt cbia. .tmta»(geętinateA. sactnmanai.
A_zr; c?ftt0Oi coiam inaitftatc grt-mrf "haman. Semol. (fiarmoi. Stcrotnol *
cufcötptaii onüf niagnifitttia. .*oimffcü (FcmŁuL. Sanna. udnn.Yrirte. theos.
tnonta e. oepcoi tein ‘7nief&biie-*noiń tn iFtirnn.(Fęriicm. «fricfreniOB. ocqetxoL. il
uni. qntnif irdiraotante-opHnontfdHr " mthunin• Jantan« £nćfentce. cpeiwn-
mm;' aiitte meptetatt* inclines f .701110s Ora on. Stunat. liemH. Ser hr »(Far '
tao? accotnoiw. nrapientrtrinamnn tn ctoi > S pcunai . ć> cm cl. -ß .nnnael. hr
am gtäm quam tefirov ftticr.' ^ftrunter miał. ifomagt». Sennatr. Fkb mai.
caitate qua ortnm fimnifh .7 tiam Ugten 'Ilona!. Aaatins. Qmarod . £’Wm
tr. Amen. gra. tfPagatv. sannanei . dficnmaict.
cm: e opußulum c\r ettif maiuf öfq. aö Ilamawka. tanat< 5ctnmatH . feoi.

1 ^omtäaipttiila ^Ixitoid aVf: epin (Fcmiot+oj .^janna met. Sead. (SSA

aliqu^difhn.Tix ^pfimditm ö. ü?rquiace gol . Agenol • öcmanai. ' tQ\ eana .tSa
n( ^oxHlcntuif.' jgaabfi tpm difhnarv
^pfclidiim bcrti; q-in angtimininiilmtm:
infix ernt-, tfteocin cuaMwutw mmttmv
quo reo-pptiam ttpemrr fubmnm 4i(fiait
mtepöürt t’ fubtmtifttu dnöficr tym ur
cum tllubfcpius uiqiiuvrcm;'trintf fecto
inun10 th ab angto ttfpmGnn e« (vc
ojufarttim mrtotrf tomtnuf qi fetrtw
dnnfioniG.q.anonna itansc^pitu
tula. fiiieannfarttyfimdum r. £rmv
liqiuf multa tngreffhs fiuio.'1-MX pverte
fitaLc-trgtn. -jmc pnapuim hm 0p_tö.
ZTVenetogwn. śaplw. öa^uan. ^dxa-.
AJ^TöemoMol. Sanna. (Pexga. Strnd.*
* ifłctrmiri.. iftafioth». Sephumai • e-me '/Mt.renK-S. Vtipomocrcni .rhec». .ItHi
xahii. (Sćnettwios. Sennammatmi. <st
cbict ♦ <fl>cgtlntw. (gertimiutol. <Fm
flul. tflnb». fatal. ftefatiuswa. <&?
11 Ariel .Sepiv'oe.‘"rplrrtOTtai. Aqona.
ninai. .Ti.iĘcr. & <f*
Samair. enamel. Adutw. .Icrłn
tvnativö.^eniiHai .Janne'. ćirtataŁ.
S cnnadviodj A cheiibnntłPb: Aatana
drl. 4Vxter. *zeehw. aratnadMrJm
nagein.il • Atnegol • Semar. Athina
mmioe ILennalamoe« sitertiai.ßa
itirnai. ^»jntchaa. 1aton J.iton«Gf
pno?. Tkcrnd .Sonat*. OeUinaclinm«
Sno\ öcrnnaoaL. Sanna.jama-xta«
ifbachmon. senos- (FHotijom. Sem
nau\ “lamat*. "Lanianv. Secw naton»
($>«nal. sowmagoL. Jamatai- QV
cłynomaurt ..'MeHninnörmetifttilun;.
xZ^nat+on. Haidts?• . Umdi«.
Tpdiä. öht« anccenaH>yn .ymaę-
toombewn • WiOTi. yma«. Ge-
fowfjvttiJ. ilfretwi» yfifkm' ücttorrta

Sections 125-127b, f. 9v.

145
 Ars Notoria

1Tol. Aziamal. "laflwn. Sena.ir.Gr ^rćalapal». (Faigramcl. Gaiama-nel.

rirmaal. &icmma$iU ćcccto.ućnomrti k^^eęncbar. Griumian». iflł.nrUntfliM.
'■flemnenoe. "hennaici • Genua- vertxrn vnd. -ólubantgOłS. joromcjnm. Gainc.
naioG. Gcmcnaoi. odiw. Ge GazarCfc. i£tmnditontni. cfealabna.Yf
l»bai*. oteniencw». fomorłnn.n. lama ftern.
.zanamir lannar. Acratno&.cbenewmd ^rnnitrtrttó. namanachn.. Garanachnai.
Gema * dMtii • .imatcn • Semmagatnn j^tamtbtoe. Sannatid. r.inqinloe.^a'ł;'”''t4,/'
Gann*. artannae. Ikamotfr. Anatamai- nnnet. kmón* kanfttomcmrn • Garomo
joflr. r». .Iimiftt®. cflumcłws. Aneln nai.
tuę. Gcrós. dalcch. Germamanm. yjalbl. i^Y^ccipntt»- ćlSemiamaron. Gahimad..
Galem. lllrtuia- There.-^1x1X1». .Ulehi [ tyGciamaiari. "flagaramal. drnJumt».
ta. Jnfw« Iwm. J4im. .llleima.-.im; «' ikegamariui. Gan^utcl. rtwęcłw-.lnu
a> £»iL)rb. •Alkątnomat. 6Kcthmonio <tat. fkciieUce.sadwnaUd. ttwincjroa.
Gcthnunmai .‘5 matiwu»- Sanwamam “iatMtHmciion. cFetnnon. bomie. Gamal
HvG. Genowi». uenafar. Gemanafar. Gamawa* Gathrmenai« ^ewmatid. d
Gflin.uhr. iflmib. laman. tf^eł.Gir Hbincrtaion . (7iHnnfttalom. oedwama
dbtamad.. ćHachtr. .taa nai. A-iadMntd.. l-ahuioe. .linatotr
nachir. .Tzanaehir. $rroncmathir. Ga lawwlamalion. AfiohWim. tfłci&.ymen.
mul* Gfaia• Gamurair. cPnanittL.&i intdiitęccb. theo&. »fłotlvi. Sanamoiai.
nuid.Acttiwoton. damach. .Ibifana eł. “Umotinamcm r£agan • Lrcmeud .
ach. G-ntms. finetedra. a$vma$ui-n. "Ltnn». -4s»maa>n. tlwirnarhinaHnn-
lememtłi. demanarton-‘Tapiam. ^fr— /Tywrnnf • tfKacot •'flanatd.
ilpnicn». .Ipocoth» .'HaamaŁitartjos? MnG.rnativ0. ehamotbon • deplwmaiamn.
tfjcachiaaUUw. ucno^abalHl .lemath. wcmajaei. deęmiet.ldMton. 'lehirioe.
Alinailełnat? • &oti»niaxal ♦ 'AahrfatHil. iannaTamtalatnamten. labtmątal.
Gćinazici. Gćtłnmaml. "U^os. jSaar- Gaaetntciw. iftccnK-tieL. Gamalcęnwn.
Gcnomwbttte- Gcnm^achamar a-x4łni Jnonwe. uttiromtfltc®• Godntrm.-leno
athit. oomocttjy.laut». tbeo. fntnn- grflcpbb. i?ciad .^bphaflanic». Arna
tKapentamios. >xrt]mb; - d»iamci&ft>9. rartft.. Gan.nicrt. Jfa
gamianm* ffćnathalar. GąnifGaia «jar. Aząganarnar. dennaftH. Gettu,
mar. tcnninjłfąiiałTur- 1h>ląnom. (JCnaUjtoG.
Otmagotiros. {giad»tano6. berami Gqxocbmai ."tamniaiamfwltemrlirin.
^d. tPamanaf. Geplioineron-werbla Yfńmritd. Aznnett». Ga mai, • J-zata
thai.iFndion.'óanaftnfis. -Inafthafion. macę», (athcmieł. weccmomcjal. .Ina
tfUraj. iPftofion. GezahlL. damatbid. .rpw». (Temorticwi- Gamot • CUctnomon.
Semmmnoth’ Sachanoe-^-imeiiam. J jlammn. A mm». Ge^du*. Gartatai
GeplpnniMpn. a ‘lataintiad. ^crifrib Get+wtamanu. tlwe. Agioe- yfdnwe-
Hnncros. dtłpn* t~et‘rrnrtiifqiiT !«b. ‘.Ubanatt». Amin-
Oa&Uitman. Vactttn - 'flannacęct’- Ge- wnqj funr prnicmlfi ii
S^m4giai\ (Płaeh. Omcoinodieo. 311 ■ Wyure. Srptrin fiinr pl?i
yw. tommnttflęrtuf. \ lofcrpbie ."Cref giamatł«-.
L einal. fVuram.Gabłaton. cfnątid« |vue trulęnce. Ó ^.rrmoi re~
3Ujononi- flaaal .'Iwncigcmoi-. daga I tiionce-. CLum^» tiAiza
N^rH^ec-un. adónęuirtdhirtDÓn • I tnuficrAtui rvpTt?beiifi.0iiif ?taa
‘»iti*jp«wb«ninięii.j>nawineiUv I tumitatif.Vna abCK-cepnuaf. IJna.
I ^rmnabii-ib^.AMiA luftitie pactf>
1 rrun^ .

Sections 127c-127i, 134, f. 10.

146
 Ars Notoria

First Nota of Grammar - f. 10v.

147
 Ars Notoria

•-lnrtxtK.ffrmr.i-. 41»at»öM m»uL.S«n<^> ■ «'rfflov . ■I.-.tm.ip’l. öxlMftd,. .Wwi4|. SrOHnituA, ■>“ -5’4? .
au. rfumine .w-f*H|4 am>Mme-W>mÄft». )M«f- Atouittj. -Axat-wM,. oftbmu ffaxuC. ®V'«J>.
. «fl. .-• i •■:$. «u» «Hw. $4 -4. Ai <mo. > • .f f«..;:■-* X..W1<
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f.,- : 1U nvieh.a,. • ’ -<*• 0V..4-: . •"^r«VMton. Oewpf»... »fclMm.* 4.YW: : >Ul.)m>t*l...
irtp. öMmftMAiti

f? hl
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3-

sHUi
tHrH
nf .$E fc fa Jtr
« • £5 p
g .3 ? i
Iflt
3?• n
1 i
£4 2 3 ?3
ff C Ł g a i ./
3 ?'? 3

>u3uif •»tjjjqp JqnuouU- uvtuui Huui.-epju» jtni.uty

llU Wto’td iqu !• • ;pw>t.Ji’.tpunxuty -.piktv} • uirtwpJ-i ■ TOiuy .$ %. ? ?.
ui >iq.iuati 'aaiiuti :w>w >vy.pJil^ Jx-oJit niXü JtUtoUM->3mqpc)i>j vivj luw'-b >ip
■ąidkijtij^u^iuM JWIR» • ipuairnkn iUn \xij •ipw.vAV -xmjS S»ij itutujuuj i 5 ra 3 5
3 & s
jt z '3 ‘ujp luuucn uttuu utdjXi-irjotpl twuai 4nc-“Uiu.‘-uutoqip'u3Vp4ip Li -_i - „
t<'a»*“hyp tj •a?i|<litj'ay<rijf«‘’ldiu )o>i<Hhj •ititaujp ><uo>|pjv.'qwin ^uuuv -Ö fH
5^- v ‘tluiHj--»ujaui jry.v vtuiii • njiujuu. aiai Jjj-ai • lynqcti Mt’uvyt-5 5.
J^-'g ¥? * ątiy ujvyiiu runu-.xpi JV Jtiuput rasu ru-pruv rrojii y • tyyiuiU uuxfjj $

vViii ^uuyiixy .^nJfaii^uvuutyqr u ij ■injfcd J4U)tnd rawp> »«ij ;«nb

o^Äst«! lEju-b ;■ jiHfutftp iimiuui ■tyuuni’.u uwpi w r-
trojuiiuuHi ü tu b n*ü)-iujyv lurunm Muritoy I ?-
a.- Ł ü
^-•fi
tp utnittn.vtivi Jnj aufj [ityyjom «uu .|bu<n>nw>l> <suu-’
jodiumb-43^111^4 rtctu rteyjuv mwljvj tittycyS
njiuöujltttu • >u.«pitu tuuiumuü ruuwind:'
•4 «&? ? r
3 ? = i 5
|h '4V>. ymiii Juuii 4‘uiray ‘uupau «luu uimim
liiu viffWH«i “{Uuui ur JrufvTInj. i.ij.
C»J4UJ.'<^ -4M tvyif® ’41 CWUUai-.H <! äh!?
• vau ajtiyy -yuwrip >wtu3it{
jusa? yur.uuyi-iJyiqtyput

ii- i-.i»uu ojy.ttt’fu»-' • rjotpi'

äl k%
.nw^u 14'* jrBuuy quj
UZ. riuacu wli < .Mwrl

5.
IS c

5 8
- 'k ■ . ■ , • wftńp 3jl4V.'aujwdiipsŁbf --xoivuitno - «sruccai
couay ay.'$[F .qiu«’ Z. irj .stpöm'. iBtu ~ •tutu.y . «xnpiuuc. -uMqtMSf? "cuxi^ .»euv&>
'^<3<xv •A.pu.diit ’uqanymi • (räuuSnukj
.iuulu •J»jO3<s •uattułf-irpw MW.';.• wpr;^ >-piu<f .yu • uitłi»u:a<i_j
•uotwjvf • yuvxvutai±9 • ■puuoir4 .jiuiTtyv •icyiuvxtv • t^c. >wrt^9
, 4^. ' ’ P^u-9 . ’4MUV3 » n-uuT,j»’^> * ivtüryp*^ •jv^ovuit’p_9 -,«15;’^ ’Uäqlwh^ •-A43*t4*.^wrtua^ • uan>9-
-WP> U ‘»>14 "H t)^£> • ysin^rtiu .uaiS^ -jum.? . uo.,•uuimLiz; «jiaruwl.

Second Nota of Grammar - f. 11.

148
 Ars Notoria

'Pnnctpium
'■ omi.i; Atu turn ■■fitn.l t*v £l.t£»
.. ■mrr^Sn’1 inf 1’tufo. voKx- :aMU>n«{. A
f~.l\. Iratnoloi. •J.im.itkw. v»jcpitttc. »'•
.1 • vh:4ul, lum’uiofptl. v«m.v• .IxCtti.tftrti'.
w-. <f<melcm.J«4nw-|e(mr>i«aMn'0.t}.lvt.l ijitfij.jnrij
atmT’<p.-t:?iMl. L^otttUi.. lx«nitn.l. 0 :>:• ixi. |etouvAtinftnupt
luldtija, yf»ni,yfjsnjn.ti A’lr.i lUiitttlttn atiiin. ihaiiafiai r,nt‘uc.
pCuttrttr «(Biicnnr tnrjnnif«x>i< rut; iTcfe • .Ifcuqw: • .iunutl,. ventme
jtml. .inomccrtl. lean, wmreti. Apt. i«x. jttshiL> .Inueti. jopn.lrtv
r.im.*Cant«n.mn.1.il>:na;. frAnc. dtJefno/.-.l. jecwiifttn;•■%.mnemant
Jcwmewp «.tmiTha;, |«mtel. een-ar. trometm.«-. vcwiaCc l>. vC^tom
>n.n.■fliavmatol .Agdafa. An.ito;.Joreinuga. femui. ]<anawt, ■yiinjio
mine txjtwfp. ivfJhIhIic i-tCbo Ctw bidu .itiufrotutnr a.raviretuv mmfire
mrmwiwtuii..janetoU .ifnam-icax. 4»ptp:enau (cam & iCtlute,.; Imitcm
renti /hiniicfii umretn ttttf rbuiflt ftnbihtiw-. Ivtinni
Upw iwnflicvm. 4ii^U pirerctbttreetn. muta on tn-t« idobcdrendinntiin
<S*vc CutofcS tynia ienmre-.?auu< re-.4i\ mnttt’.diu tn «tut nomtnuLut
hnipnrcmitinm utuf-utdid ^dtaint*. ■Jee^refavn ine-litmtnee?-t8r>4
ton. <rrtcum1««t^>et|tM!m^>.fcmutn. Amen.

.15x1x1a;. .lx
stat. Own.-, tn'.ui.i ftnairr. ^nnatm. •
.'.nftw- ni*ixnifibi1tF.»ituu h'ftvH ••'.‘’I'VplH-. »lx.ttn4W4ttt«
. /fmur trBm.ie. .15x11 •ifpmij. litxi
.ItnattlLtf-.-Tcinftvici. .Inainan^v
/r4 u?6x eimtnn SanM.ftiie'mcM.
Cnrema;. (Vjbm-.;ft>ittnta;incn^..;:ti
j f.I- x ■ Amiiax.m • A -t uifbikm^fimdum.fhHwet. c.mfrtvu'.re \
i>. <.yir- l ipunArpni<ih4l‘ili<r tin
10m«;. tteobi>. jvttfmiM.-• nreincv.re?. .Until
' ■ip"-..uteicnrf' rfRii.ntif c.i ■.'ur tenitrt (SKyrmg«. m. cl ■ -tcfr. unit ■
fiipiSje.. unircrhe-etriulifi ,n
1 "* -'”*><• nw FlultiM rex. ■If'lrtifib'ilir. iiunfini uireU.xrunieu, fcm.M
iftra .ifhert.im nimm. Iriwn.ti ttiufCxUlmtv nitiu
.tnvte- iMittienx mifho nCiimc-ni mematMm man. iKtltdC-intA nictu.inirltt
11. Jnnre-.trtlu;,!,, iiiaunten: urfui awnoafl'un.
tftimxr. edtncn.ii. Ornol. 'orenrel, 1
j.lcHi. .l!iufhtfi<.»etvinoU>;. Jvnnx ulre-.niiiidiAO
;.ifitia.a>n'|rnx rtnMJuafiw-.lkctatnttne AfnwwCatan
f.'la; tua; S eiwilb relou lubttneuU. />nrf|>HnnlUi aiaetuitHcnu
«OpmtSntutuman.tncum. remreitigttatnr«cntr4x..rf.ipietiB4i<tp
i*ntc?iti< caSjpp<.->M ^tuaflw. arFnOinmr iiuitu; tue- cv.i 'tttwn re; tne
iitn ^Miurenr^umn! . tfnburf-homuieh; f.n; .ukitijclo: t:ia$. I’topuimr
.ftartianrnt«-..«CenAim cuni.<'i :rri'i<Ki>:tm.man. aJmylenitijvx'prntu.l.
vcepx. 4w.iint. ?ciain...|. O.<imamr..'. raittn* Oimreux.CTccontrticn. .InatnJ]
Itwmnepl. AtMinejneL. £repin> .iun.on. .Ind. O- - .tbnti.Onaxnaj.jlJu
inipiir.-ux'. f£>tona.pt>piiti. jxir .nipdcu . ^nudiiitn «tnuu. neicOtimi ’mint.
.nuCvxim mtr. tone:«™ te. dilxfWtntc*. .’jrfficcmtt-.ifaurdow. Jsdk>wCn
.iinvii i.vfjxai. tomiiu Cctnj; xffifknt«;. “^tifirenil'p 11a: iturUiftftu mest • •;
«ii^.v.in.tr fnUiC /bjxiytcti&ttn spililm mtr. .i> »feqiicntum muii >i.^ayrn n>
famnruiniM. nnellefctt-cotinnu.»afnnatiun.»enibmnn jMpiain .»iWluw.
■' afaent. fare., tin Cipiam ^uattmif use ualifti ab^feu.
fht eattntno ci opuf obf tunn.ti atfto
plMIAHA AttlA
duv difpyfnt. Cic dicnu
ntftftn qnote f tv-tnbjnon«. atieiunmati
inf vpwiittire-ai cC; iciobfuantii fluir tmpM.
nofeuntut*. »«mtoind A fcwT.diimc- no dntn ctvnroce
so^pfen setamr.TqmbH •ifcpntf f: tnfcqucntt ogt- be- iptf pie ■
tprt?,‘v d ‘fn «eta- miro .7 a ______ —nuif Scmoftiandux c. £>♦ tnm q ihoti* rtf
petvt m.ttnftftrttnr. TSunmitf niimfnpntf ttib; lepta lunt; itofunr ottmix <; qtutt diflRm
S.pUtc? fine niih-’nr'e- aota^. .7 dtwmm .nc none# nocau cut.. ipif cmmfcpnuaei «cad ivbu
n Uitttnnf dnntmdum. ma liter iae •jckiiccae-. •yctw^q mon« ••tpVcndimnir.'Jfta
f pare- .icnnrifir.nm $.iiu« ivi\- pKttb; ca tnmfq>m qnealannif mreUi«i jjprtlunr nullo
rim’«’ arVinw. «-Aftcndum. Avocrnmup dirpfriTt wtrttfr.'mfi ill»« diet»; qtnp-rlhtiitu
pHlonmf -luctoumro Gumonif MRrur r atwe f.Uomonc-. vtllK dicb.-qmb; note m

Third Nota of Grammar - f. llv.

149
 Ars Notoria

fptcuintur.fntfdteb. ftmjjjpa Palomo e- m .nr. Omj iftnptpm fieCum f im

die pqnam nom pmo die mfpiatur fccunfn fi'jr. iwottńe qfiiHaunnii* .ilif.i^rdiTe.e'nir-
dirpift? tpńn;ipiq]juom6 fipm funt, renta nibeio dutlcncrnota pnu fuęmnn q. tpinom fittit
tu funr. (frmiii q Univ fhtrr ipfe dieb; qiul\- inatuinw^anht- niontpete. Ątta injmgtibc *<*&<
noro intyiqunnir.\pfini piffunt. llonr.uite- norie CngnuŁi atuu, pr.iiw ilL>? iquit. Hiffimw
aiirr.itrifduiracrdue-fiint-, f, quite; rptbqi ntbirl ^.ibnnedtffintteić $ftnoul’jhbm^nott;
frii tttcnir,- mpitc- dictum pca .uir era aą- fićdiffinimetnUbio £iloinoi<. JcotnemnnaL
$ipie diocnir. ifcrabtriiqiu .uib.ituirrndfi nom it-. .Itifincnca nna^fan/. -^htlc’foyiauvrT
e. £>acndum u abitimnur «q cnam inotsa e.«ita;-;fi>dtnivfiibfiMttnn mtttii.v« notnfhrfitn
no dulcncf fqxn funt, oniib; dicb.-pfim poe illenM^piajlofr-tg-tice <Unr. 11 tciroómeęcp.^
funt qnib4 arae ciu&em note infpiaimtnr. mmart/fi AicefcjŁ^iiełnrr efltcaaa. dlsuficnr
Ąacndnntctu e ipi fćptn Utma.ftn .mnąuim unatn. .;fiftca ihm lit nota. ta tum Tdiefi;
tnn letneoxs femp po fit p fen ń iIIk dick-ęj. i tmm4tifpfnituf. Oacndm fi r u rnrit b.diełtąj».,.
bne dinnutf ♦ Vitvndmn taiń ó nu Ho meto noMrkuląnr mtwi l’ pbtlofophieoottfifubi^w
pMfc^numaan nift tiftflióe,p^redeiitr.’3f orqwu.milLtttn tttot.mUitu Ivtfcpm’lXlomoipi&irdu
fta tannu funt afifinanta • 'irr'.tbfip nomu wptrlfęiw.rfóiru^ftw-pliifftUmruiipati '
cafice aliqua ifta fie dicta Uur. imrecttmf* •'r.tariir.fiiuloatreot w
£7 duA. qi tWyenih Cumaa meu illU6ef
fiinromia fiata-. .j4r^>n?C.mfimiartfutr mjm.
“•■fiuia.
l-mninm fiiiatftuję. lrte
~,n\- <iC7
ri«T(uof ,Ct ab
btlut. Tigłf.
r.wtin.1. ar

fet-. 'Xpinici tempi* łut.

niui* »ai.Kirn < probit** .
v«rmmi.itn .A

.•md. tJiac.vl
KMia
■rtyUtim» leiniu
phiim-

udbti.AWt

u cfd v tnitt Hat > 5* l

i, U brfdlĄTO,'.-Jrrtij
i
nrtbiitk- oVuiv

P^iGmni / f

Jh^rUA-. .yj w
rrwnv
I. d&MMtol. Omi
ptrvna ątniaję,.
incnume-llrtbili Al.'-'-

tif>i ttfvi 4r > ♦ 5fl'o

’nwno.'. u£i^mui> oct^rnta dbferiMn.

tldmcp fi bi Dl dr
~ - - catCPte JtDhiber . ttf
Run .’• mnn «uj.

«>5tM-.a.uu wufta* pp - firn.»«rTO.: u^u-murii f.-w

cf tiwf uontetrt. >rni<ptrcrt»f in num n:\bilcf. '•ompictrt~afu^uetitei te i-ruqi«twx.

First Nota of Dialectic - f. 12.

150
 Ars Notoria

Listar. tfeÄsnxM«-. D.O-'-'tvn .

X»n. Vfsw.uü. s4»hsl ■ Scmonital. O-v^- e;«*»
ok-*• «*“"■£ • *•** '*
Xrw.rth'-.^tfjreta-tu .iHncwcl • ♦zjsv^uwmI . J<Hcwta.-.u.ttou.IHtó • .«mę.
1 ■«">■'<«’' i» Om.: I. «feła;. i'mtirfd . aiMfonłl .torOwl .<^’"4
Tb und- !' ■;■■ "■■"■•'■ I<n..un.a.«n:.«i ftlCW »«yv-V.-’nui.-Inx ■
••’*" tn.m. 1ttviUr«tKirtłem • inittusti.^.< \
IIwWt. n«<n ..n^ifadaMa-rj*»«» tiutturol • ,
Zn*.. nwl.iv wil«- :>rw-,'rf#’ rrw • SuUnJC1»1« 'Wirwl »vV-t^rta \
fhnsn KÜnmO-rma ’•'<* m.-v attorn
/i-.» -,i. I •<**■» • ivr.e.-rfir.CitaHtwn..»- »iumm.uh.^frf4in »juwi i*<r
f*'9Vt TiiuivHufff «ucf'v-H't'-x • rK*Li
üfr VtfaitCW". ItfsssHi" Cutn*ss tiuutnt<ęrtł'*t1(vtn .unit. ut«n • e «l
/-mJi tu». U.'TAih^tft &ot; . vnnrrtws» 4.'<Um>Jd«P" • LtssijsH • winetul. r»<m: S5netn.Lt»,«. <a<i$K. hmuttK' «4lit
Zs«a>tv. a«V»-. Ur(Mu.--«?**•** |,.,| . .'jrr.^mr.. Głm«Ml -l««""". &3phW»Mhl£. ff» ' ń(ń?iftatw <eń’4><&.’ fäkm#
in&ts .frn»näi .trytr Atitm.
Fn.q«». {rt uv**7 >uvpsttfcswę nic^i. oföaa tnntvy mdinu Mitra ’
n»tut'. 3enjjn#«<*>-US «ütiuntn onfth «9wm. u« Mixt • ü •>*» J»trftate 'tny
„t.a. rnnrr ixnnSt- ■ .^pinv~^nai^ 5.«l>i >»; n<<
OWU» aoFm.-lfolu.- AfenMiB-möK f»IU4'”
uMttdw. <ixuę y-utuj. <°'“4 <<%. alfffflrmlp C$tu
fiusl»ü.»’ri»<<»Viliü«.nnfi<s'.xu. ..Bm>L»’>v<e»«>Mtrs »
.»tomiw <4püj .•C-mH-Ujsruhfts. >'^’>n»U4 .
mrpfiw.

'■'jrtvt- n.pmaanttitdincnmwii;
flar-tHVticrt-iFhrir« ur^J
qiWuiSHu'W 3U^<-.-•..•-»wt-i. iAuCF^ftey. uyv’' prnm(i> *?r notac.ifhtntt$ n3n
isHivK- ntfizpttn wita
wim^"I ^’^7
. ..... ■» . ... .U... AAll.lUlrtV** 4.,WM-*’4-’C
Ij, n im ir 1 nr i tne • vtow »nitntart
tj«m fwctifttm ppearslójM-rf.^...... ...... „n^nm. r(Wuv. • - ?
' rjmmftt idu4»fir»*i a.’Vet.iS'rö
£IW ftin»rW4 (JöTtClWWb.*^ 1
(ptanir. fić thiuiAttitn?. ftrnntr diifttmiif ^"oiuntrtte
«PtvneeeniTn t5qiiib5*n*i
i Hiip'isf Afiftttaw;
l j"r er
fipurtr. XnalmnsmA.. .«fe-uwm
X Jrurtun lUvmirjlr. .
l

^uietiduni «re- q^^aUquifaai iapttmur fub notw ■łttnćtuńf:

W inpaiitnC. tqmlkiw inhm:m ^/nöftngidr-fiue noch, bür. Ixcfunr
cc pfiirav anheinfpi^^s^ qiitnrrai» fttiottU-fiiae Attitc&bn
rcttönualctr. ficarfcmb; t^Scaljutan* coituo tin ipr tw». Jenott^fic dioittn f .Jlujmb .ibbuC'hpftatt*
figwmfipäe MnemÄM.rmmtt’hifc* ‘-•fiainfiałrorm .looidinn • l'tna aöf dtalcacr iü’ f<p«
ćiu. cpmiat.tii crula; wnid.-TJnrpUcctiif.qnCöctit qnam fa fopittur. &?mm ncnö’o .idnommwcr
i-anif lulrnopet. Vn lawinon Jtr. •&>nr tibiitik que utujahi .notttu pbtltłfopbi^f. lUamawnfa
4<xttU,pmcnt«urt ocuMi?<!iu<u. "Lipmufenain tp'm nionvnc-, »dpi ar. <otviian ijnu* iü> te~
mrem fpiittutn pjifnoftw» tp^. qtwtn dici ftjutti&nii ivotv r Hlv Hiernach
fAv axpmrno v flnal'm ßäi tiOmffe- nirty rcpUcifl?-. fic tztnruin «fr {’cum iepiufi itnixcre -j.iaotrc^iT
-jaMte fignifi OMf rniolu^Hc-. l,t^’' ninaä fifltr tnruit uiwbt& rcatabie. »Pmiufn cta«,
piiif mcmeMeafitvwre-. qn-un vißsxw’ ernaió <xi> .tibw hct”*1 . fiurdtvnum. kaif.'Wtofuif Mbtt
1015 Ixniö Sthrńuine. 7 pcrptiT ojrCtUttC arniuf_ inanfhatto. “|flalüffiaurrr. .Ibtrön« nota*
neintnó-tipnnnif cum cwnttv tnttiikflTiP^^mnbił (rpfciHdinc FiiO|vnennif- Jnnp fcamanwntar
7 ? quobqtvun tńntd aprüAmitf niiiXo du^pfhit ne dulffirt-.

Second Nota of Dialectic - f. 12v.

151
 Ars Notoria

jeniec U-
■ ‘pir
,'xotdr. 9
/ otofrttr. 3-powO5«i--\
jmAfnctki ^UrfirMOę-
<F<W 1 /muutJtv .hvr*k$jr. l
-xarnini ■n.'Mnn*n- 2re!i’'| f-ncttft). • m«p?J • ■
Knew). ^rtn^-4”’“’,ir,’‘n’ . I
n<i^d • ejnitML.q.tiewi • er mornrral • £•«> *»"• a»»>1
no- enc<rol . i.inruiuenr. f..<a I L On rm (hnF .»v n :.<• r- .tf’■
moton - opt»ton - -’cwt ■ vcmti

< jS'ftVSi luxOTHJt. . -o- Trtfcvn .

^unjuii.SMłMętMnoe-loptwuH /^SpCrnewt,. ntnHIcmm . Onftim • rnf'X
'LttMWi-Vrttam.vw ••Xiniuy ynnw.mffitJil i-fe.nn^M. rtiiuw^V
•'Iwtflim.*2>mMptij^n<>n<Xninir'*- ftrb<l.-rtir ■■<ui- X
fc'ccoc.tm.ipn'. .»uttwrHi /Cimnri.wy- '»• b>ttii»i<freXib<>'♦+•• cmibm br\
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I VdLwion. Srphonwn. CÓUinymadtoyrum miA . dfjsv >m At eiiXiVji: QUrnCTi! f uUrsre- iiittfj. •»£
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1W. ■<■■< • d.vtsjrt .0.) / ivnccdou . -r:vtenwOmiu< Mir qnaquaifi .cicfi h'.tv f hi
L-ulcbiH . <T»"fiteł» lr bounty jt<i fino-fiuo-hututulniurui. imwII n\l'’'>3»l'trritraei>o-
Lx crti tire -n-. dim 1B)h /. rft.-rtHeinlMa^. ęii.irłirj.tAb,-!? owstn qf-u>
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\ / vt rm.I oi>ńirtn fc.-nna-,: ulłUtiliitmyinm^Ó'» ftnrfitnu^ " •>>'
\ /nbthtun.iiut.fauttr. -nulnpŁcnte.łrrwnfti

| > »trr : ivplr inmnmc«

llwJ-ffićnuir.fiłHiM dnrtiftnnn tnrutn rr.fnRutra i-ndiowif tuej imtirretonr rrn
i.-tvr.t -n-j-j ■■:« fupjcnrta mitlir muiniurttni< tur u q-nt t pwfe urmutotf
l( wi.lU.t<ttertl?v oftim rfinmenftuteotulir- nłnti -trmit-e-rmin nir. ramq:
lirimph.-rtbiUo-'ifinrfT’OniCrtie-titwrr »wtrrotvf m»o pnofirtirml fiwmri
!>-. f.>«-rttr:ntn:..-uin rd fwnlt illuJ£ij>m hiutn .«men- J

^•jTdrala; • «r-toS,
j/xay. fDriiaftrtim.
4«t>!aimeł*nę. fw*w<*'
jmettrn. ytKth
-."t-odtfc;. lOMtyCT'-1"

First Nota of Rhetoric - f. 13.

152
 Ars Notoria

Second Nota of Rhetoric - f. 13v.

153
 Ars Notoria

a. First Nota of Geometry; b. Fourth Nota of Rhetoric - f. 14.

154
 Ars Notoria

11 re >1m vejri
men» jlre.nt«n
enw\ ntawrfl" jnutn .7710 mntw ilhmiu; fo^s.
yr.iututJK. wiTir xiiRthf iTrunrttts rjxvti Kiif art’ .1® Jh<u* tjtuUrtKhn Cpni
Zr:m. *3?raceme....U . AH-.m.t roltiir pmuni»>w<«->n. Kt vn®mU<
/4hwi. i.ifwm. uccrwiel .4>mdrr.ei• . mure. h?renin vj’lvnfbitnopje.
/rfir- then;. i)ttan4«io>i. #rwi.»mL.li">i ilHiiftcunf .oftmJC. >mjwr. aunf^tnx rafli?
/iv. *rrr* mui^ .♦ jnnm qmzx Amr. inliemr.^ U-nu.U'npl«».uA’>lpntntr reomro. w;:f.u«>
^iiXiwa. .’Ojhnmtoi jgm o^ttmSninn btxvo^f ,. _ altmirtms-A««n«> rentnsnc ctsif iffiiimn.'j.,
><j>na lUiiftw iWn,up /■■lannnn <uf>U44innate-.,frfli<nn< wr. Z
X, / \b moje* unr.lniori nfteftuin r.7 »™ia_
=—>*5<>:>»<ln|. CT« iniunre .;eriwf, uWniruBm/I
jin m.njniiefiwiu ..'ml*;
. JnApm- tnf '^HwVlUtttt?. rtajohrti .«»(»•« jrtif W_ptn,(^,n, nilm.n'n^tntoen,, .il..*--;, \ pmiCT
/^*4_ pnr^-
oni. nuio*'. Ac .Tf.X-d:fti Ifiamoei • 'oflislt <TWtni \
//■..lure ornilv] r««.flntof fate-A
tfetn;., fimrliA
\ ywm{ •?.’ \

fin ^A^nfenuf pj>lv(te-.Inf. ft ore. t1<oc. mnrlmi ■jDae* jnnAfi^nnr-pt’jiofrj.tfir. l-ftrtOMw. Finn,re* nvnc
re-nun. "A^nurr.iri .lemt|rejpfe-. "Swtajctn.i • Ano ^n.i lartU« fumnf. 1-ve fnctfunn otvntf. ioretnorfv
H<«pi«(..TV»mbnM>-> el>l.tTn4tnr.e.nnnn4i, vewnt^- c.ilaniuton. x<l.im.<nai> vetom. ColAtrtt. xnn.ifiol.
jyril. )ouf. g.thretl,• jfflicwn- 1nin?u»lio<< rbuina fenerfwt>;..Z.»’i>H<ir.'l.imatbdi. lorm . )ctft>tioni4t.
ibefte. envree Cp'tn fern Sfejib-.firjn<>r.»rtnif. »f mlu -=,<mtnd&il. • Ctrn>in«iJtt;.+m.m:olo'n> e*?euttrrr-
bitrr mtne.^Tnijv

t-ieTnrfcnj-etjTr^l. n.-trlMlar.-lrmuRw

> tfryg- q-j« r q,*oirAchrnlj<er. -iq»'

■inieuni.mu^^rj’1^

ttlMtne xju. a. 4 •

■rim+’. rtvri.. rfierf’. rlrtt'. «+«+■• e.c-r-e f. <vn>

twin. hem. V<m. bem. IxeA.hotfc. l.etA.heH’. fcrt,.
Ixcrftfwrn a.rerf.ium>onii»en»r.

EpyllpKl. 'Alfter. 4 Ip Kt. Ol-plvi, .UyKf

Ikpf-.-.llqil,. llepb. JUrh. |b«4r, io<4-. \
rem, tori,, ioH>.;orti. |oc*u. ujrKu retta- sori-n.
o.r’.o.«'. o. i-t.'l.l.t. bHv.oHx'. .ettu-oA«»-
oHx>. or. .,n or. of. or. (j-treo. <ain.i . jcitn.»,
$ibnA.

Jwnd. ftimd . $|Tnri. «pm«, «rmri •

a. First Nota of Arithmetic; b. Second Nota of Arithmetic; c. First Nota of Philosophy - f. 14v.

155
 Ars Notoria

a. Second Nota of Philosophy; g. Third Nota of Philosophy; h. Fourth Nota of Philosophy - f. 15.

156
 Ars Notoria

Ifta? omntn .

j. Fifth Nota of Philosophy; k. Sixth Nota of Philosophy - f. 15v.

157
 Ars Notoria

1. Seventh Nota of Philosophy (both pillars); m. First General Nota; n. Second General Nota;
o. Third General Nota; p. Fourth General Nota - f. 16.
158
 Ars Notoria

q. Fifth General Nota; r. Nota of Music; s. Nota of Self-mastery & Silence; t. Nota of Physic;
v. Exceptives Nota; x. Nota of Wonders; y. Nota of Justice, Peace & Awe; z. First Nota Theology - f. 16v.
159
 Ars Notoria

a. Sixth Nota of Theology; b. Second Nota of Theology; c. Third Nota of Theology;

d. Fourth Nota of Theology - f. 17.

160
 Ars Notoria

Fifth Nota of Theology - f. 17v.

161
 Ars Notoria

yvurrvm mcnm cUMam intent«- <?m rein mc

men funrSqmiA^wduin rücuttfcccy .’m trfptcv lxiu«tiiu®.iirquobcrbumtlq.7i
inntr- irttnimnea» tc-Ppfc-fc ’tcjnmfliim em SruemJUv
!?mtnr <er p.wr am'pmen® ew ? ft mne lahmte- pceftl®. {nv rtofmc*.
Fl!« mt. ■ • < <V-~ni ?nn.i fnnt • ifibil1 m •? mifs - ?> par Minium eitatiiuu.*
^ncmuCbdimn fi.i Wtnr? ctvtmmtitf
euiue^ciili tngfaewn mctimui^tr. r-nua
.viwanna auduint. cmiifceannin&dttl
ettline- plena f wn 'redwn- im omiä inbi
O cjdmatvj utftr interctfic *'erw»mtftc
qiu foä • nte doquetwm atq: faätn ftmt
dnjna ti® e® immbruffqui cmü dimdi
&» arq: diftmft illunnna htłic ec mc
fh n .iń quam ft in-. r rntu^liluo aniefe am fitlgcnrtlaimnfr me urinrrtlupinv?
Tn.lti fntit. dtrecbprnm» mfc’ pti. nrTp: 'cfricfahr . q.inhui -mayo-denne -»fitem
erbebe Cup nefam-iiliim tuuin'.Mnii.v? ter ereptv. 2JRcun?tt et«4Vem*
.pttfe».? icmfrnw IxYltcmioo. c1?anc inf|te I nuftmajtnn® miiabili® cme- re > cfhi
mein fiiir repermoöm iftunnr tut infitntü ancrift-.d.a|pfitmq: cmiütm »tunt
me llnfhri . omata». itqj i .»ml tadtrm
efpiot wniincre demre prr omimn cf fdU<ttnuam rne.im. •tmiiluphcaimria
1 yit difpöf WŁiinittim. opiwt- men® cö ti cvm ditceiiertdt f .* axtmtuvm quam .1 ar
tttctnlwdie. .Wimm .tngdb^plvminuen, incarnofcvnciie inpfenrii* matünmie ntü
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f>m .’ctuttm rwdb^j ’hm • m difpofittn. irttt fncnn.im. emnfq; bttfahf ludtaun
a'-q* difttetra.; uränt tabilt^pmiflic»* <ś> W dtfcmeem •AjocSeinf^trid.
t inrne diunei® ftibitzr mm mnplettmi * * fioii omfiini |»rdhnim rurno» fionop.
»nn qii'- nufmme tnnm ojntweffi< _ fine uidiciox* cma pmunuttmtywuM*
xftt-'dnr nett; mum odicfttm. ai>U.-.W annum aOmmiftmn® ccm \ untruayj in
nu» moftrdfUęętntunn «• Ixv'Stn.i ctuifgnmmcn ilium. SU»wuitftü qnefo
Jtvnay cmiiiun utfib I m'm mcnwiata V tvpcnm. ccnmcum •rimąiiam
vAnmfibrtium cirtun.-uz . tvtmne *|af man» crpeditmt. afrciitrenendum abiii
ptimii ui« .mffpw .mimrbeb m«et dicandum abekqucnctam raoctuandm
n -Ist an pnapmm n undi oi••fj ndfabi qinh.u.inrnrceflaia aucunita» dnuna
lir difpMien«- atq: <v ibnanv mmtm> tvc .imtnr inn-iC •■'plc.itm*. 1vc nutzt eitcni
(in*iphen< U* p »ix«, ftt^lia^in* S' en ereilte cporenĄ mmb; amjti® *? urhi-n
icturrd.cn irbiuii* facmraltv mi-fhuq; opt*» y^eii» iniv.q; cdefhv.-treamne» 7mmm
i ?w yCe®Ä anqtbi? i ’x efficaciam..iftie 'ftrnaub; quam ńtfhil;- ör cum® ma$ntfict
mein .jmewoit.itn fcafa nia mnir.yirtfflc ‘ na plcnmidimG iicnir- uv ntn .mcbwdi
faemuisq: rcminifcenna cKinfribiiituecU rtnr famiilcturciii'.nun", iniindipinb,- |v
«fan. erenne ceffib,- ę.nnma-eipit htnmnf.wi
CJe-. C^ cpic-indttK uii ib® hx Syn inotrt marnnem^Amthnidtnc' ni.nnftnfti Min
CZitTWlttiintc .ioumti pevzdia qmcd.nn <• i’Hiiie- fnennam n crcoivnme. me impft nt
ńam mate catnflls. matt «nnfa qmci?’ facilitate-faemir.''1«v ^.KV-utifmcncn
■Ttinr ftabrun ualuifh . «h'ni fpctu ontie * ' Xcn® qm aniia ninhcw pnte--r ftmtfe-
. hm o fubfifht. jMtc pnefa facmcu , ^^ci1h. £cm nirmerp pei nee hatninifaip
.irijrl'ÄjS tuced cumidM qiunn refleciv-'cn rtfcapilliie ffićtctimnii menfcidnic
I» arn«i'iuu®. abfq: amüMcuumM fi; eCä pimettt? .'niemroi* -nninuttufc fine d:tr
girier cl^nufiime- "Iw Ärcibe-unf-fccüiü p;rcn®captd duiifie qmtwimTcftn®(M
*eimtxh-rrffaimatcx.-?i)if|i:uittx.. emfmnlv Uv numerae mn mee mtimtem n <biu efti
Xtj uo’iiitanim mpjpaid: ’ uq-. maUTaSJV catwm ut tnhiu atu© ft momiroem diUß&

Sections 128-144, f. 18.

162
 Ars Notoria

erne minmf pictati& .wwHknnJ. v fre- tvpMiftr •trt£niift?_guitTEutcMt werfai

ZTWti arw. omim qanti.mt fine lenn$ tui »nqtws oniu cteiaftj
Air awtutn^ -iquo aTni^ JiaeueaUtU na Irutuf famnitimfpita tor tneunt.
sfTnhunnq; ututum cona^-ediinr aqnooe ztnfiinbe' t-ncu. tnc- rrmtm trre-. tttft
q-r fbUcUttn ^jjfimun cufamipp -ef hta -tn» ftTq? .iffi.jtnf law me- effi .
rr ■ thvxnUb,- r . .urfecitb; income r adii armi Irtuufoptf ttirribfcenmni 'tjcfr
medium tme*mr«m;at fl!o &•- ;n inert! ■bjtnjnem Imgue- ctp.pc m
awiti •'tnreilernim mettrn caitatv a.D£ fVTjturn/rTerjut
npitticH !rc tnnw rrnncp era i Hkr rWctttmef noBtxf quefu-muf
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rttuia ornloe mca&. memneo < (hues Wfcumf oiauo
falutai tu&nrwc-. urimiabiUa ■& auf vS'f ptfd;ca7 eft- cxffttula. {pjncrpr
tnm jtfiofte ttttotn »£1? qnammf •/ fepttnta ot^rtio. *etxZ 010110 etufeft.
E ea nmta m'artr t*u tntrihft :ttam -•»{e 'IftcrfeL tbiZrtn pau U pofb reiU
quar* - x re pifamrr qut mitabtlui ntaa- rirtt
{blue that- fnobie imp» arte Tacna ’fitb
nifmqnre effiaar. nr mea-foaUtutr^
memona ^htbrltmte rcrrptn. dim run
tw durThar.-rinrcdTor litncnuz ccidhti
itumm. fonotvm tr mfenilaHwe-pma
|MnUfopbie- abnatmia .item
Jrapicnnc Huefaemu*N am arm. tnq«»
fa; pccxnnim nor. pmtfdifaphnr
tnaftr. tnftnicrm. »mmf-. pgcfofoa anttr
106>omMngrios tu0£.£tbrtniO'* ccvim
narceo p pnctpitn v ■? potrfH rr* • £ u curve
cbewibm eftrfaftw* jyrrint • fcmorce
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idhs ctTiime acvro acpcort. rrutcco- fu
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cd ^eratro. fdflimnn:. thbiU-- wutifli
mti nern mum. eqnefo nt hoefar cormr
tun if»Itmtme/ r$ut tnr nifttaronisfr
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? *^f dir ttwa ?
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>,■ canetb;-tutwn tEdiftt/rqm IctrapLf
■tu tf unetteme fepttfortmC tui
-noftxMTTte-omjl^ liwpuf

Sections 145-146, f. 18v.

163
 8. The English Translation of the Ars Notoria

With thumbnails of the notae inserted at the appropriate points, and with
additional notes and formatting to separate out the prayers and orations
 Ars Notoria

NOTORY ARTt
I SOLOMON I
Shewing the X
f CABALISTIC AL KEYS
2A of<C X
Z
Magical Operations,

1 j
The liberal Sciences,
$
J C, The ArcRevelation, and
Divine ♦
♦
of Memory.
< Whereunto is added ♦
X An Aftrological Catechifm, X
$ fully demonftrating rhe Art of
Judicial astrology.
X ?
Together with a rare Natural fecret, necefiary
«fifr to be learn’d by all perlons 5 cfpecialiy *
2 Sea-men,Merchants,and Travellers. W
X
£
An excellent Invention, done by the Magne-
rick Venue of the Load-ftone.

99 Written
glifhed
originally in Latine, and nowEn-
by Robert Turner
Liwda», Printed by f>Ca»re/,and are to be Ibid
2 Martha Harifa , at the Lamb at the
♦ Eaft-end of Pauls» 16 yy.

Figure 63: The title page of Robert Turner's 1657 Ars Notoria translation.

166
 Ars Notoria:
THE

NOTORY ART
OF

SOLOMON,
Shewing the
CABALISTICAL KEY
{ Magical Operations,
Of { The liberal Sciences,
{ Divine Revelation, and
{ The Art of Memory...1

Written originally in Latine, and now

Englished by ROBERT TURNER (piAoplC[0f]g2

London, Printed by F. Cottrel, and are to be sold

by Martha Harison, at the Lamb at the
East-end of [St.] Pauls. 1657.

1 "Whereunto is added An Astrological Catechism, fully demonstrating the Art

of JUDICIAL ASTROLOGY. Together with a rare Natural secret, necessary to be
learn'd by all persons; especially Sea-men, Merchants, and Travellers. An
excellent Invention, done by the Magnetick Vertue of the Load-stone." This
section of the book added by Turner after the Ars Notoria, has been omitted as
being unrelated to magic or the Ars Notoria.
2 A lover of learning or philosophy.

167
 Ars Notoria

[The Epistle Dedicatory]

To his Ingenious and respected friend Mr. William Ryves,1 of St.
Saviours Southwark,2 Student in Phy sick3 and Astrology.
Sir.

The deep inspection and dove-like piercing Eye of your

apprehension into the deepest Cabinets of Natures Arcana's,
allures me (if I had no other attractive Magnetick engagements,) to
set this Optick before your sight: not that it will make any addition
to your knowledge; but by the {iv} fortitude of your judgment, be
walled against the art-condemning and virtue-despising
Calumniators. I know the candor of your Ingenuity will plead my
excuse, and save me from that labour; resting to be

Little Brittain,4 die } Your real affectionate Friend,

9. O in =0=6.49. }
1656.5 }
ROBERT TURNER.

1 William Ryves was an assistant to the herbalist Nicholas Culpeper (1616-1654).

An interesting dedication as Ryves appears to have defected to Turner, who
saw Culpeper as a great rival.
2 This is not necessarily the church of St. Saviours, but refers to an area of
London adjacent to the river Thames, near Southwark Cathedral.
3 Medicine.
4 In the seventeenth century this was probably a literary quarter in London,
possibly near Southwark, on the southern side of the Thames.
5 Friday. Sun in Libra 6° 49/ 1656.

168
 Ars Notoria

M
To the Ingenious
READERS.
Amongst the rest of the labours of my long Winter hours, be pleased to
accept of this as a flower of the Sun; which I have transplanted from the
copious Roman banks into the English soyle [soil]; where I hope it will
fruitfully spread its branches, and prove not a perishing gourd, but a
continual green Laurel, which Authors say is the plant of the good Angel,
and defends all persons neer its shade from the Penetrating blasts of
Thunder and Lightening; so will this be a flower fit for every mans
Garden; its virtues will soon be known, if practised, and the blasts of vice
dispersed: its subject is too sublime to be {vi} exprest. Let not the carping
Momi, nor envious black-jaw'd Zoili rayl;1 let not the ignorant bark at that
which they know not; here they learn no such lesson: and against their
Calumnies, the book I thus vindicate; quod potest per fidem intelligi, & non
aliter, & per fidem in eo operare potes. Aid niorEcog KaTpyooioavro paoiXciag,
cipydoavTo 5iKaiooovr|v, eiietoxov snayyEXicDv, £(ppa§av oropara
Xeovtcov, eopcoav duvapiv nupog...&c.2 Heb[rews] ll[:33-34] &c. and my
own intention I thus demonstrate; Dico coram omnipotenti Deo, & coram Jesu
Christo unigento Filio ejus, qui judicaturus est vivos & mortuous; quod omnia &
singula quae in hoc opere dixi, omnesque hujus Scientiae vel artis proprietates, &
universa quae ad ejus speculationem pertinent, vel in hoc Volumine continenter,
veris & naturalibus principiis innituntur, fiuntque cum Deo & bona Conscientia,
sine injuria Christianae fidei, cum integritate; sine superstitione {vii} vel
Idololatria quacunque, & non dedeceant virum sapientem Christianum bonum
atque fidelem; Nam & ego Christianas sum, baptizatus in nomine Patris, &c.
quam fidem cum Dei auxilio quam diu vixero firmiter inviolatam tenebo; Procul
ergo absit a me, discere aut scribere aliquid Christianae fidei & puritati
contrarium, sanctis moribus noxium, aut quomodolibet adversum. Deum timeo &
in ejus cultum Juravi, a quo nec vivus nec (ut confido) mortuus separator: This
small treatise I therefore commend to all the lovers of art and learning, in
which I hope they will attain their desires, quantum a Deo concessi erit; so
that I hope I have not cast a Pearle before the swine, but set a glasse before
the grateful doves.
12 March, 1656.
ROBERT TURNER.

1 Zoilus was a 4th century BCE critic of Homer from Amphipolis in Thrace.
2 The Greek is corrected against the original text in Hebrews, rather than Turner.
"Who through faith overcame kingdoms, worked out righteousness, obtained
promises, stopped mouths of lions, quenched the power of fire...etc."

169
{1} The
NOTORY ART
of

SOLOMON.

The Notory Art revealed by the Most High Creator to Solomon.

In the Name of the holy and undivided Trinity, beginneth this most holy
Art of Knowledge, Revealed to SOLOMON, which the Most High
Creator by his holy Angel ministered to SOLOMON upon the Altar of
the Temple; that thereby in a short time he knew all Arts and Sciences,
both Liberal and Mechanick, with all the Faculties and Properties
thereof: He had suddenly infused into him, and also was filled with all
wisdom, {2} to utter the sacred mysteries of most holy words.
Alpha and Omega! Oh Almighty God, the beginning of all things, without
beginning, and without end: Graciously this day hear my prayers;
neither do thou render unto me according to my sins, nor after mine
iniquities, O Lord my God, but according to thy mercy, which is greater
then all things visible and invisible. Have mercy upon me, O Christ, the
Wisdom of the Father, the Light of Angels, the Glory of Saints, the Hope,
Refuge, and Support of Sinners, the Creator of all things, and Redeemer
of all humane Frailties, who boldest the Heaven, Earth, and Sea, and all
the whole World, in the palm of thy Hand: I humbly implore and
beseech, That thow wilt mercifully with the Father, illustrate my Minde
with the beams of thy holy Spirit, that I may be able to come and attain
to the perfection of this most holy Art, and that I may be able to gain the
knowledge of every Science, Art, and Wisdom; and of every Faculty of
Memory, Intelligences, Understanding, and Intellect, by the Vertue and
Power of {3} thy most holy Spirit, and in thy Name. And thou, O God
my God, who in the beginning hast created the Heaven and the Earth,
and all things out of nothing; who reformest, and makest all things by
thy own Spirit; compleat, fulfil, restore, and implant a sound
Understanding in me, that I may glorifie thee and all thy Works, in all
my Thoughts, Words, and Deeds. O God the Father, confirm and grant
this my Prayer, and increase my Understanding and Memory, and
strengthen the same, to know and receive the Science, Memory,
Eloquence, and Perseverance in all manner of Learning, who livest and
reignest World without end. Amen.

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[Prologue]
{4} [I]1 Here beginneth the first Treatise of this Art, which Master
Apollonius calleth, The Golden Flowers, being the general! Introduction to all
Natural Sciences; and this is Confirmed, Composed, and Approved by the
Authority of Solomon, Manichaeus,2 and Euduchaeus.3
[2] I, Apollonius Master of Arts,4 duly called, to whom the Nature of
Liberal Arts hath been granted, am intended to treat of the Knowledge
of Liberal Arts, and of the Knowledge of Astronomy; and with what
Experiments and Documents, a Compendious and Competent
Knowledge of Arts may be attained unto; and how the highest and
lowest Mysteries of Nature may be competently divided, and fitted and
applied to the Natures of Times; and what proper dayes and hours are
to be elected for the Deeds and Actions of men, to be begun and ended;
what Qualifications a man ought to have, to attain the Efficacy of this
Art; and how he ought to dispose of the actions {5} of his life, and to
behold and study the Course of the Moon. In the first place therefore, we
shall declare certain precepts of the Spiritual Sciences; that all things
which we intend to speak of, may be attained to in order. [3] Wonder not
therefore, at what you shall hear and see in this subsequent Treatise, and
that you shall finde an Example of such inestimable Learning.
Some things which follow, which we will deliver to thee as Essayes of
wonderful Effects, and have extracted them out of the most ancient
Books of the Hebrews; which, where thou seest them, (although they are
forgotten, and worn out of any humane Language) nevertheless esteem
them as Miracles: [4] For I do truly admire the great Power and Efficacy
of Words in the Works of Nature.
[End of the Prologue.]5

1 Square brackets [ ] indicate Veronese's Latin Section numbers, while the

curved brackets { } indicate the pages of Turner's translation. See Julien
Veronese (2007), pp. 34-96.
2 It is strange to see the founder of the Manichaean religion listed alongside
Solomon and Euclid as one of the authors of this book.
3 Euclid of Thebes, the father of Honorius, the supposed author of Liber Juratus,
rather than the philosopher Euclid of Megara or the geometer Euclid of Alexandria.
4 Calling Apollonius 'Master of Arts' almost sounds as if this was some other
Mediaeval scholar, not the magician of Tyana.
5 Note that the sequence of the text has been reorganised. See Chapter 1 for
details. Both Turner's translation and the Latin text he worked from were
somewhat scrambled.

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[Part 1 - Flores Aurei]

[5] Of what Efficacy Words are.

There is so great Vertue, Power and Efficacy in certain Names and
Words of God, that when you reade those very Words, it shall
immediately increase and help your Eloquence, so {6} that you shall be
made eloquent of speech by them, and at length attain to the Effects of
the powerful Sacred Names of God: but from whence the power hereof
doth proceed, shall be fully demonstrated to you in the following
Chapters of Prayers: And those which follow next to our hand, we shall
lay open.
An Explanation of the Notory Art.
This art is divided into two parts: The first containeth general Rules, the
second special Rules.1 We come first to the special Rules; that is, First, to
a threefold, and then to a fourfold Division:2 And in the third place we
come to speak of Theology; which Sciences thou shalt attain to, by the
Operation of these Orations, if thou pronounce them as it is written:
[6] Therefore there are certain Notes of the Notory Art, which are
manifest to us; the Vertue whereof Human Reason cannot comprehend.
The first Note hath his signification taken from the Hebrew;3 which
though the expression thereof be comprehended in a
very {7} few words; nevertheless, in the expression of the
Mystery, they do not lose their Vertue: That may be
called their Vertue, which doth happen and proceed
from their pronunciation, which ought to be greatly
admired at.
[7] [Chapter 1] The first Precept
[Here begins the first Oration, the first chapter of 3 chapters.]4
Hely Scemath, Amazaz, Hemel; Sathusteon, hheli [hemel] Tamazam, &c.5

1 The General notae are for mastering the general skills applicable to all subjects,
such as improving the memory and understanding. The Special notae are each
concerned with one of the Mediaeval university subjects, like Grammar,
Rhetoric, Geometry, Arithmetic, etc.
2 Threefold division refers to the Trivium, fourfold division to the Quadrivium.
3 The first Note maybe nota 1, the circular image that comes first in most
manuscripts of the Ars Notoria, but in this there is no trace of Hebrew characters.
4 The whole line omitted by Turner.
5 The rest of this Oration can be found in Appendix 4, Section 7.

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[8] Which Solomon entituled, His first Revelation; and that to be without any
Interpretation: It being a Science of so Transcendent a purity, that it hath
its Original out of the depth and profundity of the Chaldee, Hebrew, and
Grecian Languages; and therefore cannot possible [possibly] by any
means be explicated fully in the poor Thread-bare Scheme of our
Language.1 And of what nature the Efficacy of the aforesaid words are,
Solomon himself doth describe in his Eleventh Book, Helisoe,2 of the
Mighty Glory of the Creator: but the Friend and Successor of Solomon,
that is, Apollonius, with some few others, to whom that Science hath been
manifested, have explained the same, and defined it to {8} be most Holy,
Divine, Deep, and Profound Mysteries; and not to be disclosed nor
pronounced, without great Faith and Reverence.
[9] A Spiritual Mandate of the precedent Oration.
Before any one begin to reade or pronounce any Orations of this Art, to
bring them to effect, let them alwayes first reverently and devoutly
rehearse this Prayer in the beginning.
If any one will search the Scriptures, or would understand, or eloquently
pronounce any part of Scripture, let him pronounce the words of the
following Figure, to wit, Help scemath, in the morning betimes of that
day, wherein thou wilt begin any work. And in the Name of the Lord
our God, let him diligently pronounce the Scripture proposed, with this
Prayer which follows, which is, Theos Megale; And is mystically
distorted, and miraculously and properly framed out of the Hebrew,
Greek, and Chaldean Tongues: and it extendeth itself briefly into every
Language, in what beginning soever {9} they are declared.
[10] The second part of the Oration of the second Chapter, is taken out of
the Hebrew, Greek, and Chaldee; and the following Exposition thereof,
ought to be pronounced first, which is a Latine Oration: The third
Oration of the three Chapters, always in the beginning of every Faculty,
is first to be rehearsed.
[11] [Here begins] the Oration, Theos Megale, in tu ymas Eurel, &c.3
This sheweth, how the foregoing Prayer is expounded: But although this

1 English (and Latin) are certainly threadbare (deficient) languages when it

comes to the terminology of magic. This also clearly indicates that the words in
the Orations, the verba ignota, come from Chaldean, Greek and Hebrew.
2 Helisol.
3 The full Oration occurs towards the end of this translation, in section S147. It
can also be found in Appendix 4, Section 10.

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 Ars Notoria

is a particular and brief Exposition of this Oration; yet do not think, that
all words are thus [as easily] expounded.
[Here begins] the Exposition of this Oration.
Oh God, the Light of the World [Lux mundi], Father of Immense
Eternity, Giver of all Wisdom and Knowledge, and of all Spiritual
Grace; most Holy and Inestimable Dispenser, knowing all things
before they are made; who makest Light and Darkness: Stretch
forth thy Hand, and touch my Mouth, and make my Tongue as a
sharp sword;1 {10} to shew forth these words with Eloquence;
Make my Tongue as an Arrow elected to declare thy Wonders, and
to pronounce them memorably: Send forth thy holy Spirit, O Lord,
into my Heart and Soul, to understand and retain them, and to
meditate on them in my Conscience: By the Oath of thy Heart, that
is, By the Right-hand of thy holy Knowledge, and mercifully
inspire thy Grace into me; Teach and instruct me; Establish the
coming in and going out of my Senses, and let thy Precepts teach
and correct me until the end; and let the Councel of the most High
assist me, through thy infinite Wisdom and Mercy. Amen.
[12] The words of these Orations cannot be wholly Expounded.
Neither think, that all words of the preceding Oration can be translated
into the Latin Tongue:2 For some words of that Oration contain in
themselves a greater Sense of Mystical Profundity, of the Authority of
Solomon; and having reference to his Writings, we acknowledge, That
these Orations {11} cannot be expounded nor understood by humane
sense:
[13] For it is necessary, That all Orations, and distinct particulars of
Astronomy, Astrology, and the Notory Art, be spoken and pronounced
in their due time and season; and the Operations of them to be made
according to the disposition of the Times.
[14] Of the Triumphal Figures, how sparingly they are to be
pronounced, and honestly and devoutly spoken.
There are also certain Figures or Orations, which Solomon in Chaldeack,
calleth Hely; that is, Triumphal Orations of the Liberal Arts, and sudden

1 A reference to Isaiah 49:2.

2 The words in the Oration cannot be translated, or 'expounded/ because they
are names of angels and demons, of Chaldean, Greek or Hebrew origin, and so,
as proper nouns, cannot be found in any dictionary.

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excellent Efficacies of Vertues; and they are the Introduction to the

Notory Art. Wherefore Solomon made a special beginning of them, that
they are to be pronounced at certain determinate times of the Moon; and
not to be undertaken, without consideration of the end. Which also
Magister Apollonius hath fully and perfectly taught, saying, Whosoever
will pronounce {12} these words let him do it in a determinate appointed
time,1 and set aside all other occasions, and he shall profit in all Sciences
in one Moneth, and attain to them in an extraordinary wonderful
manner.
[15] The Expositions of the Lunations of the Notory Art.2
These are the Expositions of the Lunation,3 and Introduction of the
Notory Art, to wit, in the fourth and the eighth day of the Moon; and in
the twelfth, sixteenth, four and twentieth, eight and twentieth, and
thirtieth [day] they ought to be put in operation. From whence Solomon
saith, That to those times, we give the expositive times of the Moon; of
the fourth day of the Moon which are written by the four Angels; and in
the fourth day of the Moon is manifested to us; and are four times
repeated and explained by the Angel, the Messenger of these Orations;
and are also revealed and delivered to us that require them from the
Angel, four times of the year, to shew the Eloquence and Fulness of the
four {13} Languages, Greek, Hebrew, Chaldee and Latine; and God hath
determined the Power of the Faculties of Humane Understanding, to the
four Parts of the Earth; and also the four Vertues of Humanities,
Understanding, Memory, Eloquence, and the Faculty of Ruling those
three. And these things are to be used as we have before spoken.
[19] He sheweth how the precedent Oration is the Beginning and
Foundation of the whole Art.
That is the first Figure of the Notory Art, which is
manifestly sited upon a Quadrangle Note:4 And this is
Angelical Wisdom, understood of few in Astronomy; but in
the Glass of Astrology, it is called, 'The Ring of Philosophy;'
and in the Notory Art it is written, 'To be the Foundation of
the whole Science.' But it is to be rehearsed four times a day, beginning
in the morning once, about the third hour once, once in the ninth hour,

1 He should practise at the same time each day calculated as outlined in Chapter 6.
2 The all-important timing of the practice.
3 The days of the Moon counting from New Moon.
4 The first is a rectangular shaped nota. This appears to refer to the Second nota
of Grammar in Mellon 1, f. 11, which is however not a nota of astronomy.

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and once in the evening.1

The precedent Oration ought to be {14} spoken secretly; and let him that
speaks it be alone, and pronounce it with a low voyce, so that he scarcely
hear himself. And this is the condition hereof, that if necessity urge one
to do any great works, he shall say it twice in the morning, and about the
ninth hour twice; and let him [be confessed, and]2 fast the first day
wherein he rehearseth it, and let him live chastly and devoutly. And this
is the oration which he shall say:
This is the Oration of the four Tongues, Chaldee, Greek, Hebrew and Latine,
evidently expounded, which is called, 'the Splendor or Speculum of
Wisdom/ In all holy Lunations, these Orations ought to be read, once in
the morning, once about the third hour, once about the ninth hour, and
once in the evening.
[16] The Oration.
[The first part of the precedent Orations]
Assaylemath, Assay, Lemeth, Azzabue.3
{15} The second part of the precedent Orations,
which is to be said onely once.
Azzaylemath, Lemath, Azacgessenio.
The third part of the precedent Oration,
which is to be spoken together with the other.
Lemath, Sebanche, Ellithy, Aygezo.
[17] This Oration hath no Exposition in the Latine.4
This is a holy Prayer, without danger of any sin,5 which Solomon saith, is
inexplicable by humane sense. And he addeth, and saith, "That the
Explication thereof is more prolixious,6 than can be considered of or
apprehended by man; excepting also those secrets, which is not lawful,

1 These are planetary hours, not clock hours. Planetary hours vary in length
according to the season, so in winter the day hours are short, in summer they
are long. One daylight Planetary hour is the number of minutes that have
elapsed between sunrise and sunset, divided by 60.
2 Omitted by Turner.
3 The full Oration will be found in Appendix 4, Section 16.
4 That is, it cannot be translated at all.
5 A serious concern in the Mediaeval period.
6 Long winded.

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neither is it given to man to utter:"12Therefore he leaveth this Oration

without any Exposition, because no man could attain to the perfection
{16} thereof: and it was left so Spiritual, because the Angel that declared
it to Solomon, laid an inexcusable prohibition upon it, saying, "See that
thou do not presume to give to any other, nor to expound any thing out
of this Oration, neither thou thy self, nor any one by thee, nor any one
after thee:" For it is a holy and Sacramental Mystery, that by expressing
the words thereof, God heareth thy Prayer, and increaseth thy Memory,
Understanding, Eloquence, and establisheth them all in thee. Let it be
read in appointed times of the Lunation; as, in the fourth day of the
Moon, the eighth and twelfth, as it is written and commanded: say that
Oration very diligently four times in those dayes; verily believing, That
thereby thy study shall suddenly be increased, and made clear, without
any ambiguity, beyond the apprehension of humane Reason.
[18] {17} Of the Efficacy of that Oration which is inexplicable to
humane sense.
This is that onely which Solomon calls 'The happiness of Wit/ and
Mfaster] Apollonius termeth it, 'The Light of the Soul/ and the 'Speculum
of Wisdom:' And, I suppose, the said Oration may be called, 'The Image
of Eternal Life:' the Vertue and Efficacy wereof is so great, that it is
understood or apprehended of very few or none.
[19]2
[Chapter 2]
[20a] Therefore having essayed some Petitions, Signs and Precepts, we
give them as an entrance to those things whereof we intend to speak; of
which they are part, that we have spoken of before. Nevertheless, before
we come to speak of them, some things are necessary to be declared,
whereby we may more clearly and plainly set forth our intended
History: For, as we have said before, there are certain Exceptions of the
Notory Art;3 some whereof are dark and obscure, and others plain and
manifest.
[20b] For the Notory Art hath a Book in Astronomy, whereof it is the
Beginning {18} and Mistris; and the Vertue thereof is such, that all Arts
are taught and derived from her. And we are further to know, That the
Notory Art doth in a wonderful manner contain and comprehend within

1 Implying the 'Exceptive Arts' i.e. magic and divination.

2 See earlier immediately after Section 15.
3 The exceptions are the Exceptive Arts, i.e. magic and divination.

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itself, all Arts, and the Knowledge of all Learning, as Solomon witnesseth:
Therefore it is called, The Notory Art, because in certain brief Notes, it
teacheth and comprehendeth the knowledge of all Arts: for so Solomon
also saith in his Treatise Lemegeton,1 that is, in his 'Treatise of Spiritual
and Secret Experiments.'
[21] Here he sheweth, in what manner those Notes differ in Art,
and the reason thereof; for a Note is a certain knowledge,
by the Oration and Figure before set down.
But of the Orations and Figures, mention shall be made in their due
place, and how the Notes are called in the Notory Art. Now he maketh
mention of that Oration, which is called, 'The Queen of Tongues:' for
amongst these Orations, there is one {19} more excellent than the rest,
which King Solomon would therefore have be called, 'The Queen of
Tongues/ because it takes away, as it were, with a certain Secret
covering the Impediments of the Tongue, and giveth it a marvellous
Faculty of Eloquence. Wherefore before we proceed further, take a little
Essay [experiment] of that Oration: For this is an Oration which in the
Scriptures we are taught to have alwayes in our mouthes; but it is taken
out of the Chaldean Language: which, although it be short, is of a
wonderful Vertue; that when you reade that Scripture, with the Oration
before-mentioned, you cannot keep silent those things, which the
Tongue and Understanding suggest, and administer to thee.
[24] The Oration which follows, is a certain Invocation of the Angels of
God, and it provoketh Eloquence, and ought to be said in the beginning
of the Scripture, and in the beginning of the Moneth [month],
[Monthly Oration]
[22] {20} The Oration
Lameth, Leynach, Semach, Belmay, (these Orations have not proper
Lunations,2 as the Commentator saith upon the Gloss, Azzailement
[Azzailemat], Gesegon, Lothamasim, Ozetogomaglial, Zeziphier, Josanum,
Solatac, Bozefama, Defarciamar [Dafarciamar], Zemait, Lemaio, Pheralon,
Anuc, Philosophi, Gregoon, Letos, Anum, Anum, Anum.)3

1 In the 17th century the Ars Notoria was sometimes bound with the Lemegeton,
but not originally a part of it. It is noteworthy that here the Ars Notoria refers to
the Lemegeton as a separate book.
2 They do not need specific times.
3 See also Appendix 4, Section 22.

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[23] How this Oration is to be said in the beginning of every Moneth,

chastly, and with a pure minde.
In the beginning of the Scriptures, are to be taught, how the precedent
Oration ought to be spoken most secretly, and nothing ought to be
retained, which thy Minde and Understanding suggests and prompts to
thee in the reading thereof: Then also follow certain words, which are
Precepts thereof, which ought alwayes to be begun in the beginning of
the Moneth, and also in other dayes. I would also note this, That it is also
to be pronounced {21} wisely, and with the greatest reverence; and that
fasting, before you have taken either Meat or Drink.
[For Memory]
[24] Here followeth the Prayer we spake of before, to obtain a good
Memory.
O Most Mighty God, Invisible God, Theos Patir Heminas; By thy
Archangels, Eliphamasay, Gelonucoa, Gebeche Banai, Gerabcai,
Elomnit; and by thy glorious Angels, whose Names are so
Consecrated, that they cannot be uttered by us; which are these,
Do. Hel. X. P. A. Li. O. F. &C.1 which cannot be Comprehended by
Humane Sense.
Here following is the Prologue of the precedent Oration, which
provoketh and procureth Memory, and is continued with the
precedent Note.
This Oration ought to be said next to the precedent Oration; to wit,
Lameth: and with this, I beseech thee to day, O Theos, to be said always as
one continued Oration. If it be for the Memory, let it be said in the
morning; if for any other effect, in the evening. {22} And thus let it be
said in the hour of the evening, and in the morning: And being thus
pronounced, with the precedent Oration, it increaseth the Memory, and
helpeth the Imperfections of the Tongue.
[25] Here beginneth the Prologue of this Oration.
I Beseech thee, O my Lord, to illuminate the Light of my
Conscience with the Splendor of thy Light: Illustrate and confirm
my Understanding, with the sweet odour of thy Spirit. Adorn my
Soul, that hearing I may hear and what I hear, I may retain in my

1 Either a list of angel names, or possibly the initial letters of a Biblical quote,
used in much the same way as the initial letters of Mark 15:34 were used on
some Christian amulets.

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Memory. O Lord, reform my heart, restore my senses, and

strengthen them; qualifie my Memory with thy Gifts: Mercifully
open the dulness of my Soul. O most merciful God, temper the
frame of my Tongue, by thy most glorious and unspeakable Name:
Thou who art the Fountain of all Goodness; the Original and
Spring of Piety, have patience with me, give a good Memory unto
me, and bestow upon me what I pray of thee in this holy Oration.
O thou who dost not forthwith Judge a sinner, {23} but mercifully
waitest, expecting his Repentance; I (though unworthy) beseech
thee to take away the guilt of my sins, and wash away my
wickedness and offences, and grant me these my Petitions, by the
verture of thy holy Angels, thou who art one God in Trinity. Amen.
[26] Here he sheweth some other Vertue of the precedent Oration.
If thou doubt of any great Vision, what it may foreshew; or if thou
wouldst see any great Vision, of any danger present or to come; or if
thou wouldst be certified of any one that is absent, say this Oration three
times in the evening with great reverence and devotion, and thou shalt
have and see that which thou desirest.
[27 Missing.]

[Experiment of the Medical Art]

[28] Here followeth an Oration of great Vertue, to attain the
knowledge of the Physical Art,1 having also many
other Vertues and Efficacy.
If you would have the perfect knowledge of any Disease, whether the
same tend to death or life: if the sick party lie languishing, stand before
him, & say this Oration three times with great reverence.
[29] {24} [Here begins] the Oration of the Physical [Medical] Art.
Ihesus fili Domimis Incomprehensibilis:2 Ancor, Anacor, Anylos,3 Zohoma,

1 In other words the Medical Art, as physic = medicine.

2 Jesus son of the incomprehensible Lord.
3 The three angels Ancor, Anacor and Anelos [Anylos] appear in many 16th and
17th century grimoires such as e. Mus. 173 and The Cunning Man's Grimoire, MS
Rawlinson D 253. Ancor was at one time called upon by Dr. John Dee.
In Appendix 4, Section 29a these angels are recorded as Hancor, Hanacor, and
Hanylos. The addition (or loss) of an 'IT at the front of the word is a clear
indication of translation from Greek, where the rough breathing mark is
indicated by 'h', which is often confused with the soft breathing mark (no 'h').

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Theodonos, helyotes1 Phagor, Norizane, Corichito, Anosae, Helse Tonope,

Phagora.
Another part of the same Oration.
Elleminator, Candones helosi, Tephagain, Tecendum, Thaones, Behelos,
Belhoros, Hocho Phagan, Corphandonos, Humanee natus & vos Eloytus
Phugora: Be present ye holy Angels, advertise and teach me,
whether such a one shall recover, or dye of this Infirmity.
[30a] This being done, then ask the sick person, "Friend, how dost thou
feel thy self?" And if he answer thee. "I feel my self at good ease, I begin
to mend," or the like; then judge without doubt, The sick person shall
recover: but if he answer, "I am very grievously ill, or worse and worse;"
then doubtless conclude, He will dye on the morrow: But if he answer,
"I know not how my state and condition is, whether better or worse;"
then you may know likewise, That he {25} will either dye, or his disease
will change and alter for the worse. If it be a Childe, that is not of years
capable to make an answer; or that the sick languish so grievously, that
he knoweth not how, or will not answer, say this Oration three times;
and what you finde first revealed in your minde, that judge to come to
pass of him.
[30b] Furthermore, if any one dissemble and seek to hide or cover his
infirmity; say the same Oration, and the Angelical Vertue shall suggest
the truth to thee. If the diseased person be farre off; when you hear his
Name, say likewise this Oration for him, and your minde shall reveal to
you, whether he shall live or dye [die].
If you touch the Pulse of any one that is sick, saying this Oration, the
effect of his Infirmity shall be revealed to you.
Or if you touch the Pulse of any Woman with Childe, saying the same
Oration, it shall be revealed, whether she shall bring forth a Male or Female.
But know, that this Miracle proceeds not from your own Nature, but
from the Nature and Vertue of the holy {26} Angels; it being a part of
their Office, wonderfully to reveal these things to you. If you doubt of
the Virginity of any one, say this Oration in your minde, and it shall be
revealed to you, whether she be a Virgin, or Corrupt.

1 Sometimes spelled 'Eloytus/ as it appears a few lines further on. The

uncertainty about the initial zh' in transliteration is another indicator of
probable Greek origins.

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[31] Here follows an efficacious Preface of an Oration, shewing

what Verture and Efficacy you may thereby prove [test] every day.
Of this Oration Solomon saith, That by it a new knowledge of Physick is
to be received from God: Upon which, he hath laid this command, and
calleth it, 'The Miraculous and Efficacious Foundation of the Physical
Science;' and that it containeth in it the quantity and quality of the whole
Physical Art and Science: wherein there is contained, rather a miraculous
and specious, then fearful or terrible Miracle, which as often-soever as
thou readest the same, regard not the paucity of words, but praise the
Vertue of so great a Mystery: For, Solomon himself speaking of the
subtility of the Notory Art, wonderfully extolls the Divine Help; to wit,
Because we have proposed a {27} great thing, that is to say so many and
so great Mysteries of Nature, contained under so specious brevity, that I
suppose them to be as a general Problem to be proposed in the
ordination of so subtile and excellent a work; that the minde of the
Reader or Hearer may be the more confirmed and fixed hereupon.

[Chapter 3]1
[32a] Here he sheweth how every Note of every Art, ought to exercise
his own office; and that the Notes of one Art profit not to the
knowledge of another Art; and we are to know,
That all Figures have their proper Orations.
We come now, according to our strength, to divide the families of the
Notory Art; and leaving that part which is natural, we come to the
greater parts of the Art: for Solomon, a great Composer, and the greatest
Master of the Notory Art, comprehendeth divers Arts under the Notion
thereof. Therefore he calleth this a Notory Art, because it should be the
Art of Arts, and Science of Sciences; which {28} comprehendeth in itself
all Arts and Sciences, Liberal and Mechanick: And those things which in
other Arts are full of long and tedious locutions, filling up great
prolixious Volumes of Books, wearying out the Student, through the
length of time to attain to them: In this Art are comprehended very
briefly in a few words or writings, so that it discovereth those things
which are hard and difficult, making the ingenious learned in a very
short time, by the wonderful and unheard-of Vertue of the words.
[32b] Therefore we, to whom such a faculty of the knowledge of the
Scripture of Sciences is granted, have wholly received this great gift, and

1 After this point the Latin text and Turner gave up inserting Chapter headings.

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inestimable benefit, from the overflowing grace of the most high

Creator. And whereas all Arts have their several Notes properly
disposed to them, and signified by their Figures; and the Note of every
Art, hath not any office of transcending to another Art, neither do the
Notes of one Art profit or assist to the knowledge of another Art:
Therefore this may seem a little difficult, as this small Treatise, which may
{29} be called a Preludium to the Body of the Art: we will explain the Notes
severally; and that which is more necessary, we shall by the Divine
Providence diligently search out the several Sciences of the Scripture.
[33] A certain special Precept.
This is necessary for us, and necessarily we suppose will be profitable to
posterity, that we know how to comprehend the great prolixious
Volumes of writings, in brief and compendious Treatises; which, that it
may easily be done, we are diligently to enquire out the way of attaining
to it, out of the three most ancient Books which were composed by
Solomon; the first and chiefest thing to be understood therein, is, That the
Oration before the second Chapter, is to be used long before every
speech, the beginning whereof is Assay:1 and the words of the Oration
are to be said in a competent space of time; but the subsequent part of
the Oration is then chiefly to be said, when you desire the knowledge of
the Volumes of writings, and looking {30} into the Notes thereof. The
same Oration is also to be said, when you would clearly and plainly
understand and expound any Science or great Mystery, that is on a
sudden proposed to you, which you never heard of before: say also the
same Oration at such time, when any thing of great consequence is
importuned of you, which at present you have not the faculty of
expounding. This is a wonderful Oration, whereof we have spoken; the
first part whereof is expounded in the Volume of the Magnitude of the
quality of Art.
[34] [Here begins] the Oration.
Lamed, Rogum, Ragia, Ragium, Ragiomal, Agaled, Eradioch,
Anchovionos, Lochen, Saza, Ya, Manichel, Mamacuo, Lephoa,
Bozaco, Cogemal, Salayel, Ytsunami, Azaroch, Beyestar, Amak.2
[35] To the operation of the Magnitude of Art, this Oration
containeth in the second place, a general Treatise of the first

1 The Oration beginning 'Assay...' is to be used as a preliminary invocation

before each operation. See Section 16.
2 See also Appendix 4, Section 34.

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 Ars Notoria

Note of all Scripture, part of the Exposition whereof, we have fully

explained {31} in the Magnitude of the quality of the same Art. But the
Reader hath hardly heard of the admirable Mystery of the Sacramental
Intellect of the same: Let him know this for a certainfty], and doubt not of
the Greek words of the Oration aforesaid,1 but that the beginning of them
is expounded [translated] in Latine.
[36] The beginning of the Oration.
Oh Eternal and Unreprehensible Memory! Oh Uncontradictible
Wisdom! Oh Unchangeable Power! Let thy right-hand encompass
my heart, and the holy Angels of thy Eternal Counsel; compleat
and fill up my Conscience with thy Memory, and the odour of thy
Ointments; and let the sweetness of thy Grace strengthen and
fortifie my Understanding, through the pure splendor and
brightness of thy holy Spirit; by vertue whereof, the holy Angels
alwayes behold and admire the brightness of thy face, and all thy
holy and heavenly Vertues; Wisdom, wherewith thou hast made
all things; Understanding, by which thou {32} hast reformed all
things; Perseverance unto blessedness, whereby thou hast restored
and confirmed the Angels; Love, whereby thou hast restored lost
Mankinde, and raised him after his Fall to Heaven; Learning,
whereby thou wer't pleased to teach Adam the knowledge of every
Science: Inform, repleat, instruct, restore, correct, and refine me,
that I may be made new in the understanding [of] thy Precepts,
and in receiving the Sciences which are profitable for my Soul and
Body, and for all faithful believers in thy Name which is blessed
for ever, world without end.
[37] Here is also a particular Exposition of the fore-going Oration,
which he hath left unexpounded, to be read by every one that is
learned in this Art; and know, that no humane power nor faculty
in man is sufficient to finde out the Exposition thereof.
[38] This Oration is also called by Solomon, 'The Gemme and Crown of
the Lord:' for he saith, It helpeth against danger of Fire, or of wilde
Beasts of the {33} Earth, being said with a believing faith: for it is
affirmed to have been reported from one of the four Angels, to whom
was given power to hurt the Earth, the Sea, and the Trees. There is an
example of this Oration, in the Book called, The Flower of heavenly
Learning; for herein Solomon glorifieth God, because by this he inspired

1 Further evidence of the Greek origin of the Ars Notoria.

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into him the knowledge of Theologie, and dignified him with the Divine
Mysteries of his Omnipotent Power and Greatness: which Solomon
beholding in his night-Sacrifice, bestowed upon him by the Lord his
God, he conveniently gathered the greater Mysteries together in this
Notory Art, which were holy, and worthy, and reverend Mysteries.
These things and Mysteries of Theologie the erring Gentiles have not all
lost, which Solomon calleth, 'The Signe of the holy Mystery of God'
revealed by his Angel before; and that which is contained in them, is the
fulness of our dignity and humane Salvation.
[39] The first of these Orations which we call Spiritual, the vertue
whereof teac[h]eth Divinity, and preserveth the memory thereof.
{34} These are Orations also, which are of great virtue and efficacy to our
Salvation: The first whereof is Spiritual, and teacheth Divinity; and also
Perseverance in the Memory thereof: Therefore Solomon commandeth it
to be called, 'The Signe of the Grace of God:' for, as Ecclesiastes saith,
"This is the Spiritual Grace of God, that hath given me knowledge
to treat of all Plants, from the Cedar of Lebanon, to the Hyssop that
groweth on the wall."
[40] The Election of time, in what Lunation these Orations ought to be said.
The first Oration ought to be said once in the first Lunation; in the third,
three times; in the sixth, six times; in the ninth, nine times; in the twelfth,
twelve times; in the seventeenth, seventeen times; and in the eighteenth,
as many times; in the twenty sixth, as many; in the twenty ninth, as
many; and so many in the thirty ninth:1 for this Oration is of so great
vertue and efficacy, that in the very day thou shalt say the same, as if it
{35} were determined by the Father, it shall increase thy knowledge in
the Science of Divinity.
But if otherwise that thou art ignorant, and it hath been seen by thy
Companions, thy Superiours or Inferiours, though unto others thou shalt
seem to have knowledge; enter into the study of Divinity, and hear the
Lectures by the space of some moneths, casting off all doubt from thee,
of them who shall see thee, to know such things: and in that day wherein
thou wouldst say it, live chastly, and say it in the Morning.
[41] Solomon testifieth, That an Angel delivered the following Oration in
Thunder, who standeth alwayes in the Presence of the Lord, to whom he
is not dreadful. The Mystery hereof is holy, and of great efficacy: neither

1 This should obviously be the 'thirtieth/ not the 'thirty ninth.'

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ought this Oration to be said above once, because it moveth the heavenly
Spirits to perform any great work.
[42] Of this Oration he saith, That so great is the Mystery thereof, that it
moveth the Celestial Spirits to perform any great work which the Divine
Power permitteth. It also giveth the vertue {36} of its Mystery, that it
exalteth the tongue and body of him that speaketh it, with so great
inspiration, as if some new and great Mystery were suddenly revealed to
his understanding.

[The Oration of Four Parts]

[43] Here followeth the beginning of this Oration, wherein is so great
vertue and efficacy, as we have said, it being said with great devotion.
Achacham, Yhel, Chelychem, Agzyraztor, Yegor, &c.
[44] [1st Part] This is the beginning of the Oration, the parts whereof are
four: But there is something to be said of the beginning by itself, and of
the four parts severally; and then between the beginning and these
Orations, which are four, we shall make this competent division.
[45] For this is that which is to be spoken of [at] the beginning severally:
And this Oration is to be divided into four parts; and the first part
thereof is to be said, that is, the beginning, before any other part of the
Oration is to be compleated. These Greek Names1 {37} following are to
be pronounced. This is the division of these Orations,
[46] Hielma, Helma, Hemna, &c.2
[47] Oh God the Father, God the Son, God the Holy Spirit, Confirm
this Oration, and my Understanding and Memory, to receive,
understand, and retain the knowledge of all good Scriptures; and
give me perseverance of minde therein.
[48] This is the beginning of that Oration, which, as we have said before,
ought to be said according to the Prolations3 and Constitutions4 thereof;

1 Further evidence of the Greek origin of the Ars Notoria.

2 See Appendix 4, Section 46.
3 Postponements. 'Prolation' is mediaeval musical term indicating how the
oration should be said or sung. Together with tempus, it corresponds roughly to
the concept of time signature in modern music. The term was first used by
Phillippe de Vitry in describing the Ars Nova, a musical style that originated in
14th century France, not this book.
4 Arrangements.

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 Ars Notoria

and ought to be repeated, because of the forgetfulness of our Memory,

and according to the exercise of our wit, and according to the sanctity of
our life; there being contained in it so great a Mystery, and such
efficacious Vertue.
[49] There followeth another subtile Oration, wherein is contained a
Sacramental Mystery, and wherein every perfect Science is wonderfully
compleated: For hereby God would have us to know, what things are
Celestial, and what are Terrene [Earthly]; and what heavenly things the
Celestial effecteth, and what earthly things things the Terrene: because
the Lord hath said, My eyes have {38} seen the imperfect, and in thy
book every day shall be formed and written, and no man in them, <9c. So
it is in the Precepts of God: for we are not able to write all things, how
the Sun hath the same course as at first, that our order may be
confirmed: for all writing whatsoever, which is not from God, is not to
be read; for God himself would have all things to be divided: & this is
how these are to be used, before the second part, which containeth so
glorious and excellent Consecrations of Orations, & defineth the
Consecrated part to have power in the Heavens, and in no wise can be
defined by humane tongues.
[50] This is the beginning of the second part of that Oration
spoken of before, which is of so great vertue.
Aglaros, Theomiros, Thomitos, &c.1
[51] [2nd Part] This is the second part of the precedent Oration, of which
some singular thing is to be spoken. Wherefore if thou sayest this
Oration, commemorating the first part thereof, say the Oration
following, and thou shalt {39} perceive the precepts which are therein.
Oh God of all things, who art my God, who in the beginning hast
created all things out of nothing, and hast reformed all things by
the Holy Spirit; compleat and restore my conscience, and heal my
understanding, that I may glorify thee in all my works, thoughts
and words.
[52] [3rd Part] And after thou hast said this Oration, make a little respite
the space of half an hour, and then say the third part of the Oration,
which follows:
[52a] Megal, [Ariotas, Lamazai, Jeconai, Zemazfar, Tetragamos, Aziamios,

1 See Appendix 4, Section 50.

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 Ars Notoria

Azamair, Zecosaphor, Azacapasamar, Selot, Zadasamir, amiri1].2

[53] Having said this third part of the Oration, then meditate with thy self
about the Scriptures thou desirest to know; and then say this Oration:
Oh thou that art the Truth, Light, and Way, of all Creatures: Oh just
God, vivify me, and confirm my understanding, and restore my
knowledge and conscience unto me, as thou didst unto King
Solomon, Amen.
[[54] After saying the fourth part of the oration, say this.
Here is the fourth part of the Oration preface, it is
Hely, Latur, Bael, Zedac, Azaras, Jezonal, Comaja, Ysaray, Jehemiehel,
Mihinniaub, Zelmeal, Jetrozaal, Molos, Microtamos, amin.]3
[4th Part] Commemorating the parts according to that which is laid
down, add the Oration following: the other Orations being said, say the
fourth part of the Oration, which is this: Amasiel, Danyi, hayr, &c.
[55] {40} Then the parts being commemorated as is directed, add also
the following Oration.
I speak these things in thy presence, Oh Lord my God, before
whose face all things are naked and open, that I being washed
from the error of infidelity, thy all-quick[en]ing Spirit may assist
me, and take away all incredulity from me.
[56] How the Latine Orations are not expounded by the words of the
Orations.
We are therefore to know, that the whole Oration remaineth
unexpounded; because the words thereof are of so great subtilty,
adorned with the Hebrew and Chaldean Tongue, with the subtile and
wonderful Elocution of God: that the office of the free Exposition
thereof, cannot possibly be transferred upon me. The Latine words
which are subjoyned to the parts of the Oration aforesaid, are such
words as have been translated out of the {41} Chaldean Tongue: for they
are not the whole Oration; but as certain Heads of every Oration
pertaining thereunto.

1 Probably Amen.
2 Omitted by Turner who only writes "Megal, Legal, Chariotos, &c." This error
further confirms that Turner's source was from the printed text of Agrippa's
Opera which also has the same missing line. See also Appendix 4, Section 52.
3 Omitted by Turner.

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 Ars Notoria

[57] Here he speaketh of the efficacy of all these.

For this Oration is such a mystery, as King Solomon himself witnesseth,
that a Servant of his House having found this book by chance, and being
too much overcome with Wine in the Company of a Woman, he
presumptuously read it; but before he had finished a part thereof, he
was stricken dumb, blind and lame, and his Memory taken from him; so
he continued to the day of his death: and in the hour of his death, he
spoke and said, that four Angels which he had offended in
presumptuous reading so sacred a mystery, were the daily keepers and
afflicters, one of his Memory, another of his speech, a third of his sight,
and the fourth of his hearing.
By which Testimony this Oration is so much commended by the same
King Solomon, and great is the mystery thereof: {42} we do greatly
require and charge every one, that will say or read it, that he do it not
presumptuously; for in presumption is sin; Wherefore let this Oration be
said, according as is directed.
[58] We therefore hold it convenient and necessary, to speak something
of the general precepts of art, and of the knowledge of all arts; and of the
several precepts of every singular art: but because we have touched
somthing of the course of the Moon, it is necessary that we shew what
her course signifies. The Moon passeth through 12 signs in one Moneth;
and the Sun through 12 signs in a year; and in the same term and time,
the Spirit inspireth, fructifieth and illustrateth them; whence it is said,
that the Sun and the Moon run their course: it is understood the course
which first they had. But because this is wanting [missing] in the
Hebrew, we thought good to omit it in the Latine, having spoken
sufficiently of the preceding Oration, and the three parts thereof.
[For Eloquence]
[59] {43} In this Chapter he sheweth the efficacy of the subsequent
Oration, it being special to obtain Eloquence.
This Holy Oration which followeth, is a certain special Oration, to obtain
Eloquence; whereas all others have virtue and efficacy in other things,
this containeth this certain special mystery in itself: And whereas one of
the generals is shewing in itself, certain general precepts, common to all
arts for so God instituted the Soul in the Body, saying, "This I give unto
you, that ye may keep and observe the Law of the Lord;"
And these are they that stand in the presence of God alwayes, and see
their Saviour face to face night and day. So of this Oration, I say, This is

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that most glorious, mystical and intelligible Oration, containing such

mysteries in it, which the mind, conscience and tongue succeedeth. This
is such a mystery, that a man shall keep it according to his will, who
foreseeth all things in his sight that are made; for the mystery of this
Oration is glorious {44} and sacramental: let no man presume to say any
of this Oration after too much drinking or Luxury; nor fasting, without
great reverence and discretion. Whence Solomon saith, "Let no man
presume to treat anything of this Oration, but in certain determinate and
appointed times, unless he make mention of this Oration before some
great President, for some weighty business;" for which this Oration is of
wonderful excellent virtue.
[60] The goodness of this Oration, and the attaining to the effects thereof,
it is read in that Psalm wherein it is said, "Follow me, and I will make
you fishers of men," as he said and did.
We know that it is not of our power, that this Oration is of so great
Virtue, and such a mystery, as sometimes also the Lord said to his
Disciples, "This we are not able to know: for this Oration is such a
mystery, that it containeth in it the great Name of God;" which many
have lyed in saying they knew it; for Jesus himself performed many
Miracles in the Temple by it: But many have lyed about what he did, and
have hid and absconded the truth thereof; so {45} that none have
declared the same before it came to passe: but we suppose have spoken
somthing about or concerning it.
[61] In this chapter he setteth down the time and manner
how this Oration is to be pronounced.
For this Oration is one of the generals, and the first of particulars,
containing both in itself; having a special virtue and faculty, to gain
Eloquence in itself: therefore it is necessary to be understood what time,
ordination, and what dayes it is to be said and published [displayed].
It may alwayes be rehearsed in every 14[th] Lunary as above said; but
the ordination of the time for every day, wherein it is to be said, is
especially in the morning betimes, before a man is defiled; and then all
Orations are chiefly to be said. And this Oration must be then
pronounced totally together, without any division. And although there
are divisions therein, the Oration is not divided in itself; but only the
Divine and Glorious Names are written {46} severally, and are divided
into parts, according to the terminations of every great and Glorious
Name; and it is to be said together as a most excellent name, but not as
one Word, because of the fragility of our nature; Neither is it needful to

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know the Elements of sillables [sylables], posited in this Oration; they

are not to be known; neither let any one presumptuously speak them;
neither let him do anything by way of temptation, concerning this
Oration, which ought not to be done:
[[62] Here is a truly simple and eloquent oration that Solomon made for
his followers. This is the beginning of the oration until the end.
An Oration of great virtue for General and all [Liberal] Arts.
Gemot, Geel, Zabael, Gezezai, Azagra, Gezomai, Alla, Athanaton, Agyel,
Azamiel, Athanayos, Ezomai, Cealragan, Ezenton, Gotha, Gezerebgal,
Ana biac, Zadachial, Ezeden, Pellicitaros, Thyethis, Cremodios, Ziim,
Gezeomiel, Ezerum, Zolrol, Zarabiel, Samil.]1
[63] No man that is impedited [hindered] or corrupted with any crime,2
ought to presume to say this Oration.
This is a thing agreed unto amongst the wise men of this World, that
these things, as we have said before, be pronounced with great
reverence and industry: it may be said every day, wherein thou art not
hindred by some criminal sin; and in that day wherein thou art
impedited [hindered] by some criminal sin, thou maist remember it in
thy heart; and if thou dost desire to be {47} made Eloquent, repeat it
three times. And if any evil thing trouble thee, or thou art ermerged
[immersed] and involved into any great business, repeat this Oration
once, and Eloquence shall be added to thee, as much as is needful; and if
thou repeat it over twice, great Eloquence shall be given to thee: so great
a Sacrament is this Oration.
The third thing to be considered in this Oration, is; This Oration ought
so to be pronounced, that confession of the Heart and Mouth ought to
precede it: let it be pronounced in the morning early, and after that
Oration say the Latine Oration following.
[64] This is a Prologue or Exposition of the precedent Oration,
which ought to be said together.
Oh omnipotent and eternal God, and merciful Father, blessed
before all Worlds; who art a God eternal, incomprehensible, and
unchangeable, and hast granted this blessed gift of Salvation unto
us; according to the omnipotency of thy Majesty, hast granted unto

1 Missing from Turner who only provides "Elmot, Sehel, Hemech, Zaba, &c."
Restored from Veronese (2007), p. 55. See also Appendix 4, Section 62.
2 In the sense that a crime or a sin prevents them from doing a spiritual practice.

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us the faculty of speaking and {48} learning, which thou hast

denyed [denied] to all other animals; and hast disposed of all
things by thy infallible providence: thou art God, whose Nature is
eternal and consubstantial, exalted above the Heavens; in whom
the whole Deity corporally dwells: I implore thy Majesty, and
Glorify thy omnipotency, with an intentive imploration [intensive
praying], adoring the mighty Virtue, Power and Magnificence of
thy eternity. I beseech thee, Oh my God, to grant me the
inestimable Wisdome of the Life of thy holy Angels. Oh God the
Holy Spirit, incomprehensible, in whose presence stand the Holy
quires of Angels; I pray and beseech thee, by thy Holy and
Glorious Name, and by the sight of thy Angels, and the Heavenly
Principalities, to give thy grace unto me, to be present with mee,
and give unto me power to persevere in the Memory of thy
Wisdome, who livest and reignest eternally one eternal God,
through all worlds of worlds; in whose sight are all celestial
virtues, now and alwayes, and everywhere, Amen.
[65] {49} This Oration being thus finished, there must of necessity some
Mystery be added; so that you are to be silent a while after the Latine
Oration is ended: and after a little taciturnity, that is, a little space of
silence, begin to say this Oration following seriously:
Semet, Lamen, &C.1
[66] This (saith Solomon) is the Oration of Orations, and a special
experiment, whereby all things, whether generals or particulars, are
known fully, efficaciously and perfectly, and are kept in the Memory. But
when thou hast by this Oration attained the Eloquence thou desirest, be
sparing thereof, and do not rashly declare those things which thy Tongue
suggests and administers to thee; for this is the end of all general precepts,
which are given to obtain Memory, Eloquence, and understanding.
[67] All those things which are before delivered, of general precepts, are
given as signs how the faculty of attaining to the understanding of the
general precepts may be had, which also Solomon calleth Spirituals; {50}
and those singular arts have singular virtues and powers.
[68] Having now given a sufficient definition of general precepts; and
the Orations are laid down, and the Authority of the Orations unto what
they are designed; it is now necessary to set down what is to be done,
concerning the singular Orations; because we are now to treat of the

1 See Section 69 on the next page for the full oration.

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several and particular arts, that we may follow the example which our
builder and Master hath laid before us; for Solomon saith, before we
proceed to the singular notes and Orations of arts before noted, there
ought to be said a Preeludium, which is a beginning or Prologue.
[69] How every several art hath its proper note.
Before we proceed to the singular precepts of several Arts, it is necessary
to discover how every several Art hath a several Note.
[ This Oration is recognised as General and Special.
Semot, Eamen,1 Gezeil, Samatial, Maaziol, Ezolca, Zinegos, Alzamiol,
Memicros, Eemeloi, Zemenai, Zettronaum, Eabdenadon, I, Jotha, Van,
Ziet, Omos, E, Elintomai, o. a. ot, Alle, Semanai, Nataim, Jezaol, Magal,
Jecramagai, Sennasadar, Jezama, Faffa, Jobat, Ammial, Zanagromos,
Negorobalim, Longai, Izeremelion, Sicroze, Gramaltheoneos, Carmelos,
Samiel, Gezesiot, Semornail, amin.]23
[70] 3

1 'Lamen' is a magician's phylactery worn on the chest for protection against the
spirits or demons he has called. In this context this word probably does not
have that meaning.
2 Omitted by Turner but restored from Veronese (2007), p. 57. Another version
of this Oration will be found in Appendix 4, Section 69.
3 Omitted by Turner.

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[Part 2 - Of the Liberal Arts or Trivium]1

[71] {51} Of the liberal Sciences and other things,
which may be had by that Art.
The liberal Arts are seaven, and seaven exceptives,2 and seaven
Mechanicks. The seaven exceptives are comprehended under the seaven
liberal [Arts]: It is manifest what the seaven liberal Arts are, of which we
shall first treat. The Mechanicks are these, which are adulterately
[commonly] called Hydromancy, Pyromancy, Nigromancy, Chiromancy,
Geomancy, Geonegia, which is comprehended under Astronomy, and
Neogia.3
Hydromancy, is a science of divining by the Water; whereby the Masters
thereof judged by the standing or running of the Water. Pyromancy, is an
Experiment of divining by the flaming of the fire; which the antient
[ancient] Philosophers esteemed of great efficacy. Nigromancy, is a
Sacrifice of dead Animals,4 whereby the Antients supposed to know
many great Experiments without sin, and to attain to great knowledge:
from whence Solomon commandeth that they might read seaven Books
of that Art without sin; and that two he accompted [counted as] {52}
Sacriledge, and that they could not read two Books of that Art without
sin. But having spoken enough hereof, we proceed to the rest.
[72] Of the liberal Sciences and other things which may be had
thereby.
There are seaven liberal Arts, which every one may learn and read
without sin. For Philosophy is great, containing profound Mysteries in
itself: These Arts are wonderfully known.

1 Here begins the Second part which deals with the Orations and notae of
specific subjects rather than the foregoing General Orations and notae.
2 The 'Exceptives' covers magic and divination.
3 Only Geonegia is included under Astronomy, the rest of this list are all
definitely Exceptives (but hiding under the label 'Mechanicks'). In other
versions of the Ars Notoria, these magical and divinatory practices are correctly
included under the heading of 'Exceptive Arts.' The intention of calling them
'Mechanical Arts' in this version was to remove them from possible clerical
scrutiny. 'Exceptive Arts' is a term only used in the Ars Notoria, and not found
in any other grimoires as far as we know.
4 The introduction of 'dead' destroys the real meaning of sacrifice, and makes
further nonsense of this completely fanciful definition of 'nigromancy,' which is
another name for magic.

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[73a] He declareth what notes the three first liberal Arts have.
For Grammar1 hath three notes only, Dialect[ic]s two,2 and Rhetorick four,
and every one with open and distinct Orations.3
But wherefore Grammar hath three, Dialect[ic]s two, and Rhetorick four;
that we know King Solomon himself testifieth and affirmeth; for he saith,
And as I was admiring and revolving in my heart and mind,
which way, from whom and from whence was this science, An
Angel brought one book, wherein was written the Figures and
Orations, and {53} delivered unto me the Notes and Orations of all
Arts, plainly and openly, and told me of them all as much as was
necessary:
And he explained unto me, as to a Child are taught by certain Elements,
some tedious Arts in a great space of time, how that I should have these
Arts in a short space of time: Saying unto me, "So shalt thou be
promoted to every science by the increase of these Virtues."
[73b] And when I asked him, "Lord, whence and how cometh this?" The
Angel answered,
This is a great Sacrament of the Lord, and of his will: this writing is
by the power of the Holy Ghost, which inspireth, fructifieth and
increaseth all knowledge;
And again the Angel said, "Look upon these Notes and Orations, at the
appointed and determinate times, and observe the times as appointed of
God, and no otherwise." When he had thus said he shewed to King
Solomon a book wherein was written, at what times all these things were
to be pronounced and published, and plainly demonstrated it according
to the Vision of God: Which things I having heard and seen, did operate
in them all, according to {54} the Word of the Lord by the Angel: And so
Solomon declareth, it came to passe unto him: But we that come after
him, ought to imitate his Authority, and as much as we are able observe
those things he hath left unto us.

1 Grammar implies a mastery of Latin.

2 i.e. logic and argument.
3 The first three subjects of the Trivium, Grammar, Rhetoric and Dialectic were
designed to teach the student how to express himself correctly, convincingly,
and logically. It is a great pity that these arts are no longer formally taught in
the schools and universities of the 21st century. If they were then a lot less
nonsense would be spoken and written.

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[74] Here Solomon sheweth, how the Angel told him distinctly,
wherefore the Grammar hath three Figures.

Three notae of Grammar

Behold wherefore the Grammatical Art hath only three Notes in the
Book of Solomon Gemeliath, that is, in the Book of the Art of God, which we
read is the Art of all other sciences, and of all other Arts; For Solomon
saith, "When I did inquire every thing singularly of the Angel of God,"
with fear, saying,
Lord, from whence shall this come to passe to me, that I may fully
and perfectly know this Art? Why do so many Notes appertain to
such an Art, and so many to such an Art, and are ascribed to
several determinate Orations, to have the efficacy thereof?
The Angel is thus said to answer:
"The Grammatical Art is called {55} a liberal Art, And hath three things
necessary thereunto: Ordination of words and times; and in them, of
Adjuncts or Figures; Simple, compound and various; and a various
declination of the parts to the parts, or a relation from the parts, and a
Congruent and ordinate division." This is the reason, why there is three
Notes in the Art of Grammar. And so it pleased the Divine Wisdome, that
as there should be a full knowledge of declining by one; by another,
there should be had a convenient Ordination of all the parts; by the
third, there should be had a continual and convenient Division of all the
parts, simple and compound.
[75] The Reason why the Dialectical Art hath two Figures onely.

Two notae of Dialectic

Dialectic], which is called the form of Arts, and a Doctrinal speech, hath
two things necessary thereunto, to wit, Eloquence of Arguing, and
Prudence to answer; Therefore the greatness of the Divine Providence

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and Piety, hath appointed two Notes to it; that by the first, we may have
Eloquence to {56} Argue and Dispute; and by the second, industry to
answer without ambiguity: Wherefore there are ascribed to Grammar
three Notes, and to Dialect two Notes.

Let us see wherefore Rhetorick hath four Notes. For there are four things
necessary therein; as the Angel of the Lord said unto Solomon; to wit, a
continual and flourishing adornment of locution, an ordinate, competent
and discreet judgement, a Testimony of Causes or Offices, of Chances &
Losses, a composed disposition of buying and selling; An Eloquence of
the matters of that Art, with a demonstrative understanding. Therefore
the greatness of God hath appointed to the Art of Rhetorick four Notes,
with their Holy and Glorious Orations; as they were reverently sent by
the Hand of God; that every Note in this Art aforesaid, might have a
several faculty, That the first Note in that Art, might give a continual {57}
locution, a competent and flourishing adornment thereof: The second, to
discern Judgements, just and unjust, ordinate and inordinate, true and
false: The third, competently to discover offices and causes: and the
fourth giveth understanding and eloquence in all the operations of this
Art, without prolixity [verbosity]. See therefore how in Grammar, Logick,
and Rhetorick, the several Notes are disposed in the several Arts.
But of the other Arts and their Notes, we shall speak in their due
place and time, as we find them disposed in the book of the same
Solomon.
[77] At what times and hours the Notes of these three liberal Arts are
to be looked into.
Now we proceed to shew at what time, and how the Notes of these Arts are
to be looked into, and the Orations to be said, to attain to these Arts. If thou
art altogether ignorant of the Grammatical Art, and wouldst have {58} the
knowledge thereof: if it be appointed thee of God to do this work of works,
and have a firm understanding in this Art of Arts: Then know that thou

1 The 2nd Rhetoric and 3rd Rhetoric notae are often joined together as one note.

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maist not presume to do otherwise then this book commandeth thee; for
this book of his shall be thy Master, And this Art of his thy Mistress.
[For Grammar]
[78a] How the Grammatical Notes are to be looked into in the first
Moon.
For in this manner, the Grammatical! Notes are to be looked into, and
the Orations to be said.
In the dayes when the Moon is in her prime, the first Note is to be
looked into 12 times, and the Orations thereof repeated 24 times with
Holy reverence; making a little space between, let the Orations be twice
repeated at the inspection of every Note, and chiefly abstain from sins:
do this from the first day of the Moon to the 14[th], and from the 14[th]
to the 17[th]. The first and second Notes are to be looked into 20 times,
and the Orations to be repeated 30 times, on the {59} 15 [th] and 17[th]
dayes, using some interval between them, All the three Notes are then
every day to be looked into 12 times, and the Orations to be repeated 20
times: [78b] and thus of the Notes of the Art of Grammar. But if thou
hast read any books of this Art, and desirest perfection therein, do as is
commanded; using the general Orations to increase Memory, Eloquence,
understanding and perseverance therein, repeating these above in the
due time and hours appointed; lest that going beyond thy precept, thou
committest sin: but when thou dost this, see that it be secret to thy self,
and that thou have no looker on but God. Now we come to the Notes.
[79] Here followeth the knowledge of the Notes.
In the beginning of the inspection of all Notes, fast the first day till the
evening, if you can; if thou canst not, then take another hour. This is the
Grammatical precept.
[For Logic]
{60} Of the logical notes.
The Dialectical Notes may be used every day, except only in those dayes
before told of: The Rhetorical [Notes] every day, except only three dayes
of the Moneth, to wit, 1) 11,117, and 19 [days of the Moon]. And they are
forbidden on these dayes, as Solomon testifyes, the Notes of all Arts,
except the Notes of this Art are offered. These precepts are generally to
be observed.

115 according to Veronese (2007), p. 63.

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[80] How the Logical Notes are to be inspected, and the Orations
thereof said.
Know, that the Dialectical Notes are four times to be looked into, and the
Orations thereof in that day are 20 times to be repeated, making some
respite, and having the books of that Art before your Eyes; and so
likewise the books of Rhetorick, when the Notes thereof are inspected, as
it is appointed. This sufficeth for the knowledge of the 3 Arts.
[81] {61} How we must beware of offences.
Before we proceed to begin the first Note of the Art of Grammar,
somthing is to be tryed before, that we may have the knowledge of the
l[st], 2[nd], and 3[rd] Notes. And you ought first to know, in what the
Notes of the Grammatical, Logical, or Rhetorical Art are to be inspected, it
being necessary that your greatest intentions be to keep from all offences.
How the Notes ought to be inspected, at certain elected times.
This is a special and manifest knowledge, wherewith the Notes of the
are known: how they are to be published, at what times, and with what
distinction, is duly and competently manifest; it is spoken already of the
publishing and inspection of the Notes and Orations: now we shall
digresse a little to speak something of the times, it being in part done
already.
[83] Three Chapters to be published, before any of the Notes.
What we have spoken of [in] the three first Chapters] are generally and
specially to be pronounced, so that you say them, and the Orations on
the dayes appointed, and work by the Notes as it is demonstrated to
you. These Orations ought to be said alwayes before noon, every day of
the Moneth; and before the Notes say the proper Orations: and in all
reading, observe the precepts commanded.
[84] {76} How the Proper Notes are to be inspected.
If you would learn anything of any one Art, look into the proper Notes
thereof in their due time. Enough is said already of the three liberal Arts.
[85] What dayes are to be observed in the inspection of the
Notes of the four Arts.
In the four other Arts, only the four first dayes are to be observed: The
Philosophical Notes, with all Sciences contained therein, the 7[th] and
17[th] dayes of the Moon are to be inspected, 7 times a day, with their
several Orations. The Note is to be looked into, with fear [awe], silence

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and trembling.
[86] Of the Notes of the liberal Arts, it is spoken already; but only know
this, that when you would use them, live chaste and soberly; for the
Note hath in itself 24 Angels, is fully and perfectly to be pronounced, as
you have heard: but when you look into them, {77} repeat all the
Theological Orations, and the rest in their due time.
[87] Of the inspection of General Notes.
Say the general Notes 10 times a day, when you have occasion to use any
common Arts, having the books of those Arts before you, using some
interval or space of time between them, as you have been taught already.
[88] How the three first Chapters are to be pronounced before
Orations.
To have perfection herein, know, that in the general pronunciation of
Orations, the Notes of the three heads are to be rehearsed; whether the
Orations be pronounced or not.
[89] How the fifth Oration of Theology1 ought to be rehearsed
upon these Orations.
There is also something else to be said of the four other liberal Arts; if
you would have the perfect knowledge of them, make the first Oration
of Theology {78} before you say the Orations of the other Notes. These
are sufficiently declared, that you may understand and know them; And
let the capitular Orations be pronounced before the several Notes of
every Art, and kept as is determined, &c.
[90] These are the Augmentations of the Orations, which belong to all
Arts liberal and exceptive, except Mechanick, and are especially ascribed
to the Notes of Theology. And they are thus to be pronounced, that
whensoever you would look into any one Note of any Art, and would
profit therein, say these Orations following.
{66} The First Oration at the beginning of the Notes.
[82]2 At the beginning of a Note, having seen the generals; let the
specials be looked into. The word of Solomon is to seek unto God for his
promises, before the Notes of the three Arts.

1 Theology is not part of the Trivium but is here used as a blessing or introduction
to the Trivium orations.
2 Section 82 containing just the first of the 17 Orations, has been moved here
from where it was previously incorrectly placed after Section 134.

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[The Trivium] [The 17 Orations] [Notae of Grammar]

[The 1st Oration]
The Light, Truth, Life, Way, Judge, Mercy, Fortitude and Patience,
preserve, help me, and have Mercy upon me, Amen.
[The 2nd Oration]
[128] This Oration, with the preceding, ought to be said
in the beginning of the first Note of Grammar.
Oh Lord, Holy Father, Almighty, eternal God, in
whose sight are all the foundations of all
Creatures, and invisible beings, whose Eyes behold
my imperfections, of the sweetness of whose love the Earth and
Heavens are filled; who sawest all things before they were made,
in whose book every day is formed, and all mankind are written
therein: behold me thy Servant this day prostrate before thee, with
my whole Heart and Soul, by thy Holy Spirit confirm me, blesse
me, protect all my Actions in this inspection or repetition, and
illuminate me with the constancy of thy visitation.
[129] The 3[rd] Oration.
This Oration ought to be said before the second Note of Grammar.
{67} Behold, O Lord, merciful Father of all things;
eternal dispensor of all virtues, and consider my
operations this day; Thou art the Beholder and
Discerner of all the Actions of Men and Angels: Let the
wonderful grace of thy promises condescend to fulfil
this sudden virtue in me, and infuse such efficacy into
me, operating in thy Holy and great Name, thou who infusest thy
praise into the mouths of them that love thee, Amen.
[130] The 4[th] Oration.
Let this Oration be rehearsed before the third Grammatical Note:
O Adonay, Creator of all visible Creatures! Oh most
Holy Father, who dwellest incompassed [encompassed]
about with eternal light, disposing and by thy power
governing all things before all beginnings; I most humbly
beseech thy eternity and thy incomprehensible goodness may
come to perfection in me, by the operation of thy most Holy Angels; And be
confirmed in my Memory, and establish these thy Holy works in me, Amen.

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[132]12{63} Here is made mention of the Notes of all Arts.

I, Apollonius following the power of Solomon, have disposed my self to
keep his works and observations, as it is spoken of the three Notes of
Grammar, so will I observe the times as they are to be observed: But the
Orations thereof are not written, but are more fully demonstrated in the
following work; for what is written of those three Notes, are not
Orations, but Definitions of those Notes, written by the Greek, Hebrew,
and Chaldean, and other things which are apprehended by us: For those
writings which are not understood in Latine, ought not to be
pronounced, but on those dayes which are appointed by King Solomon,
and in those dayes wherein the Notes are inspected, but on those dayes
those Holy writings are alwayes to be repeated: and the Latine, on those
dayes wherein the Notes are not inspected.
[Notae of Dialectic/Logic]
[133] The Notes of the Logical Art are two: and at what times they are to
be published is already shewn in part: more shall {64} hereafter be said
of them: now we come to the rest. The Latine writings may be published,
according to the Antiquity of the Hebrews, except on those dayes we
have spoken of: for Solomon saith, "See that thou perform all those
precepts as they are given:" But of the rest which follow, it is to be done
otherwise: for when thou seest the first Note of Logick, repeat in thy
heart the sign in the first Note, and so in the Notes of all Arts except
those whereof a definition shall be given.
[134] 2

[135] A little space after this Oration, say the following: the first [5th]
Oration ought to be said before the first Note of Logick.3
Oh Holy God, great good, and the {68} eternal Maker of all things, thy
Attributes not to be exprest, who hast Created the Heaven and the Earth,
the Sea and all things in them, and the bottomless pit, according to thy
pleasure; in whose sight are the Words and Actions of all men: Grant
unto me, by these Sacramental Mysteries of thy Holy Angels, the
precious knowledge of this art, which I desire by the Ministry of thy Holy
Angels, it being without any Malignant or Malitious intent, Amen.

1 Sections 132-133 have been moved here from where they were previously
incorrectly placed after Section 147.
2 Moved to be with the 2nd nota of Geometry. Sections 131-134 are missing from
Mellon 1.
3 The scribe confused the first nota with the fifth Oration.

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[136] Pronounce this Oration in the beginning of the first Figure of the
Logick art; and after this Oration rehearse incontinently with some
interval, the Orations written between the first Figure.
[137] The 6[th] Oration following ought to be said before the first Note
of the Dialectic].
[6] Helay: Most Merciful Creator, Inspirer, Reformer,
and Approver of all Divine wills, Ordeyner of all
things, Mercifully give ear to my Prayer, gloriously
intend [attend] unto the desires of my heart, that what
I humbly desire, according to thy promises, thou wilt
Mercifully grant, Amen.
[Notae of Rhetoric]
[138] {69} This [7th] Oration following, ought to be pronounced before
the first Note of the Rhetorical Art.
Omnipotent and merciful Father, Ordeyner [ordainer]
and Creator of all Creatures: Oh most Holy Judge, eternal
King of Kings, and Lord of Lords; who wonderfully
condescendest to give wisdome and understanding to thy
Saints, who judgest and discernest all things: I beseech thee
to illuminate my heart this day with the Splendor of thy
Beauty, that I may understand and know what I desire, and what things
are considerable to be known in this Art, Amen.
This Oration with the following Hanazay, &c. ought to be pronounced
before the first Figure of Rhetorick: and although the Oration is divided
into two parts, yet it is one and the same: And they are divided only for
this cause, that there might be some mean interval used in the
pronouncing of them; and they ought to be pronounced before the other
Orations written in the Figure.
[140] Hanazay, Sazhaon, Hubi, Sene, Hay, Ginbar, Ronail, Selmora,
Hyramay, Lohal [Johal], Yzazamael [ysazamael], Amathomatoss
[Amathomatois], Yaboageyors, Sozomcrat, Ampho, Delmedos
[Deldemos], {70} Geroch, Agalos, Meihatagiel, Secamai, Saheleton,
Mechogrisces, Levirencrhon [Lerirencrhon].
[139] The 8[th] Oration,1 let it be pronounced before the second
Note of the Rhetorical Art:

1 At this point Turner's (correct) numbering of the Orations gets out of step with
the (incorrect) Latin numbering.

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Oh great eternal and wonderful Lord God, who of thy eternal counsel
hast disposed of all virtues, and art Ordeyner of all goodness; Adorn and
Beautify my understanding, and give unto me Reason to know and learn
the Mysteries of thy Holy Angels: And grant unto me all knowledge and
learning thou hast promised to thy Servants by the vertue of thy Holy
Angels, Amen.
[140]1 This Oration, with the other two following, ought to be
pronounced, (viz. Vision, &c.) Azelechias, &c. in the beginning
of the second Figure of Rhetorick, and before the other
Orations; and there ought to be some interval between them.
[141a] Let this [9th] Oration following be said, before the
second Note of Rhetorick.
Vision; beholding with thy eternal conspiration all Powers,
Kingdomes and Judges, Administring all manner of Languages to
all, and of whose power there is no end; restore I beseech thee and
increase my Memory, my heart and {71} understanding, to know,
understand, and Judge all things which thy Divine authority
commendeth necessary in this art, perfectly fulfill them in me,
Amen.
[141b] Let this [10th] Oration following, with the Precedent, be rehearsed
before the second Note of Rhetorick.
Azelechias, Velozeos, Inoanzama, Samelo [Saruclo], Hotens, Sagnath,
Adonay, Soma, Jezochos, Hicon, Jezomethon, Sadaot.
And thou Oh God propitiously confirm thy promises in me, as
thou hast confirmed them by the same words to King Solomon;
send unto me, Oh Lord, thy virtue from Heaven, that may
illuminate my mind and understanding: strengthen, Oh God, my
understanding, renew my Soul within me, and wash me with the
Waters which are above the Heavens; pour out thy Spirit upon my
flesh, and fill my bowels with thy Judgements, with humility and
charity: thou who hast created the Heaven and the Earth, and
made man according to thy own Image; pour out the light of thy
love into my understanding, that being radicated [rooted] and
established in thy love and thy mercy, I may love thy Name, and
know, and worship thee, and understand {72} all thy Scriptures,
And all the Mysteries which thou hast declared by thy Holy
Angels, I may receive and understand in my heart, and use this

1 Or 139 Gloss.

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Art to thy Honor and Glory, through thy mighty Counsel, Amen.
[141c] The 11 [th] Oration ought to be said before the pronunciation of
the third Note of Rhetorick.1
I know, that I love thy Glory, and my delight is in
thy wonderful works, and that thou wilt give
unto me wisdome, according to thy goodness and
thy power, which is incomprehensible:
Theon, Haltanagon, Haramalon, Zamoyma, Chamasal,
Jeconamril, Harionatar, Jechomagol [Lechomagol], Gela Magos, Kemolihot,
Kamanatar, Hariomolatar, Hanaces, Velonionathar, Azoroy, Jezabali;
by these most Holy and Glorious profound Mysteries, precious
Offices, virtue and knowledge of God, compleat and perfect my
beginnings, and reform my beginnings,
Zembar, Henoranat, Grenatayl, Samzatam, Jecornazay:
Oh thou great Fountain of all goodness, knowledge and virtue,
give unto thy Servant power to eschew all evill, and cleave unto
goodness and knowledge, and to follow the same {73} with an
Holy intention, that with my whole heart I may understand &
learn thy Laws and Decrees; especially these Holy Mysteries;
wherein that I may profit, I beseech thee, Amen.
[142] 12[th Oration] This Oration ought to be said before the fourth2
Rhetorical Note:
Oh most reverend Almighty Lord, ruling all Creatures both
Angels and Arch-Angels, and all Celestial, terrestrial, and
infernal Creatures; of whose greatness comes all plenty [whose
power governs the four parts of the World],3 who hast made
man after thy own Image; Grant unto me the knowledge of this
Art, and strengthen all Sciences in me, Amen.

1 From Yah. Vah. 34, f. 14, as this nota is not in Mellon 1.

2 Mistakenly translated by Turner as 'nineth.'
3 Omitted by Turner.

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[Quadrivium]
[Notae of Arithmetic]
[142a] 13[th Oration] Pronounce this before the first Figure of Arithmetick:
Oh God who numbrest, weighest, and measurest
all things, given the day his order, and called the
Sun by his Name; Grant the knowledge of this Art
unto my understanding, that I may love thee, and
acknowledge the gift of thy goodness, Amen.
[142b] 14[th Oration], Say this before the semi-note [half nota] of
Arithmetick:
Oh God, the Operator of all things, from whom proceeds every good and
perfect gift; sow the Seeds of thy Word in my Heart, that I may
understand {74} the excellent Mysteries of this Art, Amen.
[143] 15[th Oration]. Say this before the second Figure of Arithmetick:
Oh God the perfect Judge of all good works, who makest
known thy saving goodness amongst all Nations; open
my Eyes and my Heart, with the beams of thy mercy, that
I may understand and persevere in these thy Heavenly
Mysteries, Amen.
[144-145 Missing].
[Nota of Geometry]
Definitions of several Arts, and the Notes thereof.
[134]1 We will give also Definitions of several Arts, as it is in
the Book of Solomon; Geometry hath one Note [left],
Arithmetick a Note and a half;

[146] 16[th Oration]. This Oration [to be said] before the second
Note of Geometry: 2
Oh God the giver of all wisdome and knowledge to them that are
without sin, Instructor and Master of all Spiritual learning, by
thy Angels and Arch-Angels, by Thrones, Potestates,
Principa[li]tes and Powers,3 by Cherubim and Seraphim, and by

1 Section 134 has been moved here to be with the 2nd nota of Geometry.
2 From Yah. Vah. 34, f. 12v, as not in Mellon 1.
3 Various Orders of angels.

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the 24 Elders, by the 4 Animals, and all the host of Heaven, I adore, invocate,
worship and glorify thy Name, and exalt thee: most terrible and most
merciful, I do humbly beseech thee this day to illuminate and fill my Heart
with the grace of thy Holy Spirit, thou who art three in one, Amen.
[Nota of Theology]
17[th Oration]. Say this Oration before the second Note of
Theology.
I adore thee, Oh King of Kings, my light, my substance, my
life, my King, and my God, my Memory, {75} and my
strength; who in a Moment gavest sundry Tongues, and
threwest down a Mighty Tower [Babel], And gavest by thy
Holy Spirit the knowledge of Tongues to thy Apostles,
infusing thy knowledge into them in a Moment, giving them
the understanding of all Languages: inspire my Heart, and
pour the dew of thy grace and Holy Spirit into me, that I may understand
the Exposition of Tongues and Languages, Amen.
[147] [62} How divers Months are to be sought out in the inspection of
the Notes.
We have spoken already of the tearms of this Art, wherein the Orations
are to be read, and the Notes to be looked into: it remaineth to declare,
how the Lunations of these Orations are to be inspected and found out.
But see that you mistake not: yet I have already noted the Lunations,
wherein the Notes ought to be looked into, and the Orations rehearsed:
But there are some Months, wherein the Lunation is more profitable
than others: if thou wouldst operate in Theology or Astronomy, do it in
a fiery sign; if Grammar or Logick, in H or fW; if Musick or Phy sick, in d
or —; if Rhetorick, Philosophy, Arithmetick or Geometry, in H or S>; for
Mathematicks, in d or H: so they are well placed, and free from evil; for
all the Heavenly Potestates [Powers] and Chorus of Angels, do rejoyce in
their Lunations, and determinate dayes.
[Here ends the Ars Notoria of Solomon, Manichaeus and Euclid]1

1 "Explicit Ars Notoria Salomonis, Machinei et Euclidis." The Explicit marked the end
of this section, or maybe of the whole Ars Notoria at some point in the past.

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[Notae of Philosophy]
1 Philosophy, with the Arts and Sciences contained therein, hath 7

Notes, but they are great and dangerous; not great in the pronunciation,
but have great efficacy: Musick hath one Note, and Physick [Medicine]
one Note; but they are all to be {65} published and rehearsed in their
appointed dayes: But know, that in every day wherein you beholdest the
Notes of Theology, Philosophy, or of any Arts contained in them, that
thou neither laugh nor play, nor sport; because King Solomon, when he
saw the forms of these Notes, having over-drunk himself, God was
angry with him, and spoke unto him by his Angel, saying, "Because
thou hast despised my Sacrament, and Polluted and derided my Holy
things; I will take away part of thy Kingdoms, and I will shorten the dayes of
thy Children." And the Angel added, "The Lord hath forbid thee to enter into
the Temple 80 days, that thou maist repent of thy sin. And when Solomon
wept and besought mercy of the Lord, the Angel answered, "Thy dayes
shall be prolonged; nevertheless many evills and iniquities shall come upon thy
Children, and they shall be destroyed of the iniquities that shall come upon them.”
[90] l[st Oration]
Ezomamos [Ezemomos], Hazalat, Ezityne, Hezemechel, Czemomechel,
Zamay [zamai], Zaton, Ziamy Nayzaton, Hyzemogoy, Jeccomantha
[leccomantha], Jaraphy, Phalezeton, Sacramphal, Sagamazaim, Secranale,
Sacramathan; Jezennalaton [lezennalaton] Hacheriatos, Jetelemathon
[leteleymathon], Zaymazay, Zamaihay, Gigutheio Geurlagon, Garyos,
Megalon Hera Cruhic [Heracruhic], Crarihuc, Amen.1 2
[91] Let this Oration with the following be pronounced before
the first Note of Philosophy:
Oh Lord God, Holy Father, Almighty and incomprehen­
sible; {79} hear my Prayers, thou that art invisible,

1 Moved here in order to be with the following individual Philosophy notae.

2 See Appendix 4, Section 90 for the full version.

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immortal and intelligible, whose face the Angels and Archangels,

and all the powers of Heaven, do so much desire to see; whose
Majesty I desire eternally to adore, and honour the only one God
for ever and ever, Amen.
[92] [2nd Oration]. Say this before the second Note of
Philosophy:
Oh Lord God, Holy and Almighty Father, hear my
Prayers this day, and incline thy ears to my Orations;
Gezomelion Samach, Semath, Cemon, Gezagam, Gezatrhin,
Zheamoth, Zeze Hator Sezeator Samay Sannanda, Gezyel,
bezel, Gaziety, Hel, Gazayethyhel [Gazietyhel], Amen.
[93] Say this following with the former:
Oh God eternal, the way, the truth, and the life; give thy light and
the flower of thy Holy Spirit into my mind and understanding,
and grant that the gift of thy grace may shine forth in my heart,
and into my Soul, now and for ever, Amen.
[94] [3rd Oration] Pronounce the Oration following before the third Note
of Philosophy;
Lemogethom, Hegemochom, bdazachay Hazatha, Azamachar,
Azacham, Cohathay. Geomothay [Gehomothay] Logomothay,
Zathana, {80} Lachanma, Legomezon, Legomozon, Lembdemachon,
Zegomaday, Hathanayos, Hatamam, Helesymom [Helsymon],
Vagedaren, Vadeyabar, Lamnanath, Lamadai, Gomongchor,
Gemecher, Ellemay, Gecromal, Gecrohahi, Colomanos,
Colomaythos, Amen.
[95] Say this following with the precedent Oration:
Oh God the life of all visible Creatures, eternal brightness, and
virtue of all things; who art the original of all piety, who knewest
all things before the were; who judgest all things, and discernest
all things by thy unspeakeable knowledge: glorify thy Holy and
unspeakable Name this day in my heart, and strengthen my
intellectual understanding; increase my Memory, and confirm my
eloquence; make my Tongue ready, quick, and perfect in thy
Sciences and Scriptures, that by thy power given unto me, and thy
wisdome taught in my heart, I may praise thee, and know and
understand thy Holy Name for ever World without end, Amen.

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[96] [4th Oration] Say this Oration following before the fourth Note of
Philosophy.
Oh King of Kings, the Giver and Dispenser of infinite
Majesty, and of infinite mercy, {81} the founder of all
foundations; lay the foundation of all thy virtues in me,
remove all foolishness from my heart, that my senses may
be established in the love of thy charity, and my Spirit
informed by thee, according to the recreation and
invocation of they will, who livest and reignest God
throughout all Worlds of Worlds, Amen.
'TT'U'*
[97] How these Orations are to be said every day once before
the general Notes, and the Notes of the liberal Arts.
These 4 Orations are necessary for liberal Arts, but chiefly do appertain
to Theology, which are to be said every day before the general Notes, or
the Notes of the liberal Arts; but to Theology say every one of these 7
times to every Note; but if you would learn or teach any thing of
dictating, versifying, singing or Musick, or any of these Sciences, first
teach him these Orations, that thou would'st teach, how he should read
them: but if he be a Child of mean understanding, read them before him,
and let him say after thee word for {82} word; but if he be of a good
understanding, let him read them 7 times a day for 7 dayes: or if it be a
general Note, pronounce these Orations, and the Virtue thereof shall
profit you much, and you shall therein find great virtue.
[98] [5th Oration] Solomon saith of these Orations, let no man presume to
make use of them unless for the proper office they are instituted for.
Oh Father, incomprehensible, from whom proceedeth every thing
that is good; whose greatness is incomprehensible: Hear this day
my Prayers, which I make in thy sight, and grant to
me the Joy of thy saving health, that I may teach
unto the wicked the Wayes and Paths of thy
Sciences, and convert the Rebellious and
incredulous unto thee, that whatsoever I
commemorate and repeat in my heart and mouth,
may take root and foundation in me; that I may be made powerful
and efficacious in thy works, Amen.

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[99] [6th Oration] Say this Oration before the 6[th] Note of Philosophy:
Gezemothon [Gezomathon], Oromathian
[Oromathiam], Hayatha, Aygyay [Aygyay hyatha],
Lethasihel, Lechizliel, Gegohay, Gerhonay, Samasatel,
Samasathel, {83} Gessiomo, Hatel [Gesiomohatel],
Segomasay, Azomathon, Helomathon, Gerochor, Hejazay, Samin, Heliel,
Sanihelyel, Siloth, Silerech, Garamathal, Gesemathal, Gecoromay,
Gecorenay, Samyel, Samihahel, Hesemyhel, Sedolamax, Secothamay
[Sechotamay], Samya, Rabiathos, Avinosch, Annas, Amen.
[100] Then say this following:
Oh eternal King! O God, the Judge and discemer of all things,
knower of all good Sciences; instruct me this day for thy Holy
Names sake, and by these Holy Sacraments; and purify my
understanding, that thy knowledge may enter into my inward
parts, as water flowing from Heaven, and as Oil into my bones, by
thee, Oh God Saviour of all things, who art the Fountain of
goodness, and original of piety; instruct me this day in those
Sciences which I desire, thou who art one God for ever, Amen.
Oh God Father, incomprehensible, from whom proceedeth all
good, the greatness of whose mercy is fathomless, hear my
Prayers, which I make this day before thee, and render unto me
the joy of thy Salvation, that I may teach the unjust the knowledge
of thy wayes, and convert {84} the unbelieving and Rebellious unto
thee; and may have power to perform thy works, Amen.
[Notae of Theology]
[101] [Here begins] the 7[th] Oration, which is the end of the Orations,
belonging to the ineffable Note, the last of Theology, having 24 Angels.
Oh God of all piety, Author and Foundation of all
things, the eternal Health and Redemption of thy
people; Inspirer and great Giver of all graces, Sciences
and Arts, from whose gift it cometh: Inspire into me
thy servant, an increase of those Sciences: who hast
granted life to me miserable sinner, defend my Soul,
and deliver my Heart from the wicked cogitations of this World;
extinguish and quench in me the flames of all lust and fornication,
that I may the more attentively delight in thy Sciences and Arts;
and give unto me the desire of my Heart, that I being confirmed
and exalted in thy glory, may love thee: and increase in me the

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power of thy Holy Spirit, by thy Salvation and reward of the

faithful, to the Salvation of my Soul and Body, Amen.
{85} Then say this following:
Oh God most mighty Father, from whom proceedeth all good, the
greatness of whose mercy is incomprehensible; hear my Prayers,
which I make in thy sight.
[102] [Here begins the] Special precepts of the Notes of Theology,
chiefly of the l[st] 2[nd] and 3[rd Notes].

Notes 1, 2 and 3 of Theology

These 7 Orations are an augmentation of the rest, and ought to be said

before all the Notes of Theology, but especially before the ineffable
Note; these are the precepts to make thee sufficient, which we command
thee to observe by the authority of Solomon: diligently inquire them out,
and do as we have proposed, and perfectly pronounce the Orations, and
look into the Notes of the other Arts.
[103] How Solomon received that ineffable Note from the Angel.
Because thou desirest the Mystery of the Notes, take this of the ineffable
Note, the expression whereof is given in the Angels by the
Figures of {86} Swords, birds, trees, Flowers, Candles, and
Serpents; For Solomon received this from the Lord in the night
of Pacification, ingraven in a book of Gold; and heard this
from the Lord: "Doubt not, neither be affraid; for this
Sacrament is greater than all the rest;" And the Lord joyned it
unto him, When thou look'st into this Note, and read'st the Orations
thereof, observe the precepts before, and diligently look into them; And
beware that thou prudently conceal and keep whatsoever thou read'st in
this Note of God, and whatsoever shall be revealed to thee in the vision.
And when the Angel of the Lord appeareth to thee, keep and conceal the
words and writings he revealeth to thee; and observe them to practice
and operate in them, observing all things with great reverence, and
pronounce them at the appointed dayes and hours, as before is directed:
and afterwards say:

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Sapienter die illo; Age, & caste vivas.1

But if thou dost anything uncertain, there is danger; as then wilt have
experience from the other Notes and the Orations of them; but consider
that which is most wonderful {87} in those Orations;
[104] for these words are ineffable names, and are spiritually to be
pronounced before the ineffable Note,
Hosel, Jesel [lesel], Anchiator, Aratol, Hasiatol, Gemor, Gesameor
[Gemorgesameor].

Those are the Orations which ought to be pronounced after the

inspection of all Arts, and after the Note of Theology.
[105] This is the fulfilling of the whole work; but what is necessary for an
experiment of the work, we will more plainly declare. In the beginning
of the knowledge of all Art, there is given almost the perfect Doctrine of
operating: I say almost, because some flourishing institutions hereof
remain, whereof this is the first beginning.
[106] How the precepts are to be observed in the operation of all Arts.
Observe the 4 [four quarters of the Moon] in every operation of
Theology. Exhibit that operation with efficacy every 4 ]) quartam hmam
[quarter of the Moon]; and diligently look into the books and writings of
those Arts; if thou doubt of any of the Chapters, they are to be
pronounced, as is taught of the {88} superiour Chapters; but know this,
that these Holy Words of Orations, we appoint to be said before the bed
of the sick, for an experiment of life or death. And this thou maist do
often, if thou wilt operate nothing else in the whole body of Art:
[107] And know this, that if thou hast not the books in thy hands, or the
faculty of looking into them is not given to thee; the effect of this work
will not be the lesse therefore: but the Orations are twice then to be
pronounced, where they were [otherwise] to be but once: And as to the
knowledge of a vision, and the other virtues which these Holy Orations
have; thou maist prove and try them, when and how thou wilt.
[108] These precepts are specially to be observed.
But when thou would'st operate in Theology, observe only those dayes
which are appointed; but all times are convenient for those Notes and
Operations, for which there is a competent time given; but in the
pronounciation of the three liberal Arts, or in the {89} inspection of their

1 The Wisdom of the day; come and live chastely.

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Notes, perhaps thou maist pretermit [abandon] some day appointed, if

thou observe the rest; or if thou transgress two dayes, leave not off the
work, for it loseth not its effect for this, for the Moon is more to be
observed in the greater numbers than the dayes or hours. For Solomon
saith, "if thou miss a day or two, fear not, but operate on the general
Chapters." This is enough to say of them: but by no means forget any of
the words which are to be said in the beginning of the reading to attain
to Arts; for there is great virtue in them. And thou maist frequently use
the Holy Words of the visions: but if thou wouldst operate in the whole
body of the Physical Art [medicine], the first Chapters are first to be
repeated as before are defined.
[109] And in Theology, thou must operate only by thy self: Often repeat
the Orations, and look into the Notes of Theology: this produceth great
effects. It is necessary that thou have the Note of the 24 Angels alwayes
in Memory; and faithfully keep those things, which the Angel reveales to
thee in the vision.

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[Part 3 - Ars Nova]

[[110] Here begins the Ars Nova of Solomon]
{90} The Experiment of the precedent work, is the beginning of the
following Orations, which Solomon calleth Artem Nov am.1
[Orations Prologue]
[111] These Orations may be said before all Arts generally, and before all
Notes specially; And they may be pronounced without any other
Chapters, if thou wouldst operate in any of the aforesaid Arts, saying
these Orations in due time and order; thou maist have great efficacy in
any Art. And in saying these Orations, neither the time, day, D [Moon
phase], are to be observed: but take heed, that on these dayes you
abstain from all sin, as drunkenness, gluttony, especially swearing,
before you proceed thereunto, that your knowledge therein may be the
more cleer and perfect.
Wherefore Solomon saith, "When I was to pronounce these Orations, I
feared lest I should offend God; and I appointed unto my self a time
wherein to begin them; that living chastly, I might appear the more
innocent."
{91} [112] These are the Proaemiums [Introductions] of these Orations,
that I might lay down in order every thing whereof thou maist doubt,
without any other definition. And before thou begin to try any of these
subtile works, it is good to fast two or three dayes; that it may be
divinely revealed, whether thy desires be good or evil.
[113] These are the precepts appointed before every operation; but if
thou doubt of any beginning, either of the three first Chapters, or of the
four subsequent Arts, that thou maist have the effect of perfect
knowledge; if thou consider and pronounce the Orations, as they are
above described, although thou overpass som[e]thing ignorantly; thou
maist be reconciled by the spiritual virtue of the subsequent Orations.
[114] The Angel said of these Orations to Solomon: "See the holiness of
these Orations;" and if thou hast transgrest any therein presumptuously
or ignorantly, say reverently and wisely these Orations, of which the
great Angel saith: "This is a great sacrament of God, which the Lord

1 This is the third Part called Artem Novam, which simply means a 'new art/ It is
not related to the Ars Nova in the Lemegeton. This part is noticeably different
from the Flores Aurei, having longer prayers, and maybe a simpler system.

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sendeth to thee by my {92} hand;" at the veneration of which sacrament,

when King Solomon offered with great patience before the Lord upon the
Altar, he saw the book covered with fine linen, and in this book were
written 10 Orations, and upon every Oration the sign of golden Seal: and
he heard in his Spirit, "These are they which the Lord hath figured, and
are far excluded from the hearts of the unfaithful."
Therefore Solomon trembled lest he should offend the Lord, and kept
them, saying it was wickedness to reveal them to unbelievers: but he
that would learn any great or spiritual thing in any Art or necessary
Science, if he cannot have a higher work, he may say these Orations at
what time soever he will; the three first, for the three first liberal Arts; a
several Oration for every several Art, or generally all the three for the
three Arts are to be said; and in like manner the four subsequent
Orations, for four other liberal Arts. And if thou wouldst have the whole
body of Art, without any definition of time, thou maist pronounce these
Orations before the several {93} Arts, and before the Orations and Notes
of these Arts, as often as thou wilt, fully, manifestly and secretly; but
beware that thou live chastly and soberly in the pronounciation thereof.
[The Ten Orations]
[115] [1st Oration - Theology] This is the first Oration of the 10, which
may be pronounced by its self, without any precedent work to acquire
Memory, Eloquence and understanding, and stableness of these three
and singularly to be rehearsed before the first figure of Theology:
Omnipotent, Incomprehensible, invisible and indissolvable
Lord God; I adore this day thy Holy Name; I an unworthy ) ' (
and miserable sinner, do lift up my Prayer, understanding ' ’7'
and reason towards thy Holy and Heavenly Temple,
declaring thee, Oh Lord God, to be my Creator and M
Saviour: and I a rational Creature do this day invocate thy
most glorious clemency, that thy Holy Spirit may vivify my
infirmity: And thou, Oh my God, who didst confer the Elements of
letters, and efficacious Doctrine of thy Tongue to thy Servants
Moses and Aaron, confer the same grace of thy sweetness upon me,
which thou hast {94} investigated into thy Servants and Prophets:
as thou hast given them learning in a moment, confer the same
learning upon me, and cleanse my Conscience from dead works;
direct my Heart into the right way, and open the same to
understand, and drop the truth into my understanding. And thou,
Oh Lord God, who didst condescend to create me after thy own

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image, hear me in thy Justice, and teach me in thy truth, and fill up
my soul with thy knowledge according to thy great mercy, that in
the multitude of thy mercies, thou maist love me the more, and the
greater in thy works, and that I may delight in the administration
of thy Commandments; that I being helped and restored by the
work of thy grace, and purified in Heart and Conscience to trust in
thee, I may feast in thy sight, and exalt thy name, for it is good,
before thy Saints, Sanctifie me this day, that I may live in faith,
perfect in hope, and constant in charity, and may learn and obtain
the knowledge I desire; and being illuminated, strengthened, and
exalted by the Science obtained, I may know thee, and love thee,
and love the {95} knowledge and wisdome of thy Scriptures; and
that I may understand and firmly retain, that which thou hast
permitted man to know: Oh Lord Jesus Christ, eternal only
begotten Son of God, into whose hands the Father gave all things
before all Worlds, give unto me this day, for thy Holy and glorious
Name, the unspeakable nutriment of Soul and Body, a fit, fluent,
free and perfect Tongue; and that whatsoever I shall ask in thy
mercy, will and truth, I may obtain; and confirm all my Prayers
and actions, according to thy good pleasure. Oh Lord my God, the
Father of Life, open the Fountain of Sciences, which I desire; open
to me, Oh Lord, the Fountain which thou openedst to Adam, and to
thy Servants Abraham, and Isaac, and Jacob, to understand, learn
and judge; receive Oh Lord my Prayers, through all thy Heavenly
virtues, Amen.
[116] [2nd Oration - Eloquence] The next Oration is the second of ten, and
giveth Eloquence, which ought to be said after the other; a little interval
between, and before the first Figure of Theology.
I adore thee, thou King of Kings, {96} and Lords, eternal and
unchangeable King: Hearken this day to the cry and sighing of my
Heart and Spirit, that thou maist change my understanding, and
give to me a heart of flesh, for my heart of stone, that I may breath
before my Lord and Saviour; and wash Oh Lord with thy new
Spirit the inward parts of my heart, and wash away the evil of my
flesh: infuse into me a good understanding, that I may become a
new man; reform me in thy love, and let thy salvation give me
increase of knowledge: hear my Prayers, O Lord, wherewith I cry
unto thee, and open the Eyes of my flesh, and understanding, to
understand the wonderful things of thy Law; that being vivified
by thy Justification, I may prevail against the Devil, the adversary

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of the faithful; hear me Oh Lord my God, and be merciful unto me,

and shew me thy mercy; and reach to me the vessel of Salvation,
that I may drink and be satisfied of the Fountain of thy grace, that I
may obtain the knowledge and understanding; and let the grace of
thy Holy Spirit come, and rest upon me, Amen.
[117] {97} For Eloquence and stability of mind.
[3rd Oration - Astronomy] This is the third Oration of the ten, and is to
be said before the first Figure of Astronomy.1
I confesse my self guilty this day before thee Oh God,
Father of Heaven and Earth, Maker of all things, visible
and invisible, of all Creatures, Dispenser and Giver of all
grace and virtue; who hidest wisdome and knowledge
from the proud and wicked, and givest it to the faithful
and humble; illuminate my Heart, and establish my
Conscience and understanding: set the light of thy countenance
upon me, that I may love thee, and be established in the
knowledge of my understanding, that I being cleansed from evil
works, may attain to the knowledge of those Sciences, which thou
hast reserved for believers. Oh merciful and omnipotent God,
cleanse my Heart and reins, strengthen my Soul and Senses with
the grace of thy Holy Spirit, and establish me with the fire of the
same grace: illuminate me; gird up my loyns, and give the staffe of
thy Consolation into my {98} right hand, direct me in thy Doctrine,
root out of me all vices and sin, and comfort me in the love of thy
mercies: Breath into me Oh Lord the breath of Life, and increase
my reason and understanding; send thy Holy Spirit into me, that I
may be perfect in all knowledge: behold Oh Lord, and consider the
dolour of my mind, that my will may be comforted in thee; send
into me from Heaven thy Holy Spirit, that I may understand those
things I desire. Give unto me invention, Oh Lord, thou Fountain of
perfect reason and riches of knowledge, that I may obtain wisdom
by thy Divine assistance, Amen.
[[118] [4th Oration - Works of Celebration] The fourth Oration that
is of great Solomon for all good works of celebration.
Otheos, Athamaziel, Gezomi, Saziel, Sazamai, Geternamai,
Salathiel, Gozomiel, Megal, Nathamian, Jamazair, Sephonai, Mois,
Ranna, Zaramaen, Gezonomai, Amamin, Delot, Azememelot,

1 Nota from Yah. Vah. 34, f. 15v - a, as this figure is not present in Mellon 1.

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Chades, Baruc., Smor, Gezeron, Malaparos, Ellamai, Merai.]1

[119] To Comfort the outward and inward Senses.
Oh Holy God, mercyful and omnipotent Father, Giver of all things;
strengthen me by thy power, and help me by thy presence, as thou
wert mercyful to Adam, and suddenly gavest him the knowledge
of all Arts through thy great mercy; grant unto me power to obtain
the same knowledge by the same mercy: be present with me Oh
{99} Lord, and instruct me: Oh most mercyful Lord Jesus Christ
Son of God, breath thy Holy Spirit into me, proceeding from thee
and the Father; strengthen my work this day, and teach me, that I
may walk in thy knowledge, and glorify the abundance of thy
grace: Let the flames of thy Holy Spirit rejoyce the City of my
Heart, by breathing into me thy Divine Scriptures; replenish my
Heart with all Eloquence, and vivify me with thy Holy visitation;
blot out of me the spots of all vices, I beseech thee, Oh Lord God
incomprehensible; let thy grace alwayes rest upon me, and be
increased in me; heal my Soul by thy inestimable goodness, and
comfort my heart all my life, that what I hear I may understand,
and what I understand I may keep, and retain in my Memory; give
me a teachable Heart and Tongue; through thy inexhaustible grace
and goodness; and the grace of the Father, Son, and Holy Ghost,
Amen.
{100} [5th Oration - Memory]
[The fifth Oration with five interior and exterior comforts.]2
[120] This following [Oration] is for the Memory.
O Holy Father, merciful Son, and Holy Ghost, inestimable King; I
adore, invocate, and beseech thy Holy Name, that of thy
overflowing goodness, thou wilt forget all my sins: be mercyful to
me a sinner, presuming to go about this office of knowledge, and
occult learning; and grant, Oh Lord, it may be efficatious in me;
open Oh Lord my ears, that I may hear; and take away the scales
from my Eyes, that I may see: strengthen my hands, that I may
work; open my face, that I may understand thy will; to the glory of
thy Name, which is blessed for ever, Amen.

1 Restored from Veronese (2007), p. 79.

2 The line is missing from Turner.

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[121] This [6th Oration] following strengtheneth the interiour and

exteriour Sences [senses].
Lift up the senses of my Heart and Soul unto thee, Oh Lord my
God, and elevate my heart this day unto thee; that my words and
works may please thee in the sight of all people; let thy mercy and
omnipotency shine in my bowels; let my understanding be {101}
enlarged, and let thy Holy Eloquence be sweet in my mouth, that
what I read or hear I may understand and repeat: as Adam
understood, and as Abraham kept, so let me keep understanding;
and as Jacob was founded and rooted in thy wisedome, so let me
be: let the foundation of thy mercy be confirmed in me, that I may
delight in the works of thy hands, and persevere in Justice, and
peace of Soul and Body; the grace of thy Holy Spirit working in
me, that I may rejoyce in the overthrow of all my adversaryes,
Amen.
[122] This [7th Oration] following giveth Eloquence, Memory and
Stability.
Disposer of all Kingdomes, and of all visible and invisible gifts: Oh
God, the Ordeyner and Ruler of all wills, by the Counsel of thy
Spirit dispose and vivify the weakness of my understanding, that I
may burn in the accesse of thy Holy will to good: do good to me in
thy good pleasure, not looking upon my sins; grant me my desire,
though unworthy; confirm my Memory and reason to know,
understand, and retain, {102} and give good effect to my senses
through thy grace, and justify me with the justification of thy Holy
Spirit, that what spots soever of sin are contracted in my flesh, thy
Divine power may blot out; thou who hast been pleased in the
beginning, to create the Heaven and Earth, of thy Mercy restore
the same, who art pleased to restore lost man to thy most Holy
Kingdome; Oh Lord of wisdome, restore Eloquence into all my
senses, that I, though an unworthy sinner, may be confirmed in
thy knowledge, and in all thy works, by the grace of the Father,
Son, and Holy Ghost, who livest and reignest three in one, Amen.
[123] An [8th] Oration to recover lost wisdome.
Oh God of living, Lord of all Creatures visible and invisible,
Administrator and Dispenser of all things, enlighten my Heart this
day by the grace of thy Holy Spirit, strengthen my inward man,
and pour into me the dew of thy grace, whereby thou instructest

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the Angels; inform me with the plenty of thy knowledge,

wherewith from the beginning thou hast taught thy {103} faithful;
let thy grace work in me, and the flouds [floods] of thy grace and
Spirit, cleanse and correct the filth of my Conscience. Thou who
comest from Heaven upon the Waters of thy Majesty, confirm this
wonderful Sacrament in me.
[124] [The 9th Oration] to obtain the grace of the Holy Spirit.
Oh Lord my God, Father of all things, who revealest thy celestial
and terrestrial secrets to thy Servants, I humbly beseech and
implore thy Majesty, as thou art the King and Prince of all
knowledge, hear my Prayers; and direct my works, and let my
Actions prevail in Heavenly virtues, by thy Holy Spirit: I cry unto
thee, Oh God, hear my Clamor, I sigh to thee, hear the sighings of
my heart, and alwayes preserve my Spirit, Soul, and Body, under
the Safeguard of thy Holy Spirit; O God thou Holy Spirit,
perpetual and Heavenly charity, whereof the Heaven and Earth is
full, breath upon my operation; and what I require to thy honour
and praise, grant unto me; let thy Holy Spirit come {104} upon me,
rule and reign in me, Amen.
[125] The [10th Oration] to recover intellectual wisdome.
Oh Lord, I thy Servant confesse my self unto thee, before the
Majesty of thy glory, in whose Spirit is all Magnificence and
Sanctimony: I beseech thee according to thy unspeakeable Name,
extend thy merciful Ears and Eyes to the office of my operation;
and opening thy hand, I may be filled with the grace I desire, and
satiated with charity and goodness; whereby thou hast founded
Heaven and Earth, who livest, &c.

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[Part 4 - Supplementary Gloss and Full Text of Main Prayers]1

[S147] Say these Orations from the first day of the month, to the fourth
day: in the fourth day Alpha and Omega, and that following it, viz.
Helischemat azatan', As it is in the beginning: afterwards say,
Theos Megale patyr, ymas heth heldya, hebeath heleotezygel, Salatyel,
Salus, Telli [Telh], Samel, Zadaziel, Zadan, Sadiz Leogio, Yemegas,
Mengas, Omchon Myeroym, Ezel, Ezely, Yegrogamal, Sameldach,
Somelta, Sanay, Geltonama, Hanns, {105} Simon Salte, Patyr, Osyon,
Hate, Haylos, Amen.
Oh light of the World immense God, &c.
[SI48] Hereby is increased so much Eloquence, that nothing is above it.
Thezay lemach ossanlomach azabath azach azare gessemon relaame
azathabelial biliarsonor tintingote amussiton sebamay halbuchyre
gemaybe redayl [tedayl] hermayl textossepha pamphilos Cytrogoomon
bapada lampdayochim [lampda yochim] yochyle tahencior yastamor
Sadomegol gyeleiton zomagon Somasgei baltea achetom gegerametos
halyphala semean utangelsemon barya therica getraman sechalmata
balnat hariynos haylos halos genegat gemnegal saneyalaix samartaix
camael satabmal simalena gaycyah [gacyach]] salmancha sabanon
salmalsay silimacroton zegasme bacherietas zemethim theameabal
gezorabal craton henna glungh hariagil parimegos zamariel leozomach
rex maleosia mission zebmay aliaox gemois sazayl neomagil Xe Xe Sepha
caphamal azeton gezain holhanhihala semeanay gehosynon caryacta
gemyazan zeamphalachin zegelaman hathanatos, semach {106} gerorabat
syrnosyel, halaboem hebalor halebech ruos sabor ydelmasan falior sabor
megiozgoz neyather pharamshe forantes saza mogh schampeton sadomthe
nepotz minaba zanon suafnezenon inhancon maninas gereuran
gethamayh passamoth theon beth sathamac hamolnera galsemariach
nechomnan regnali phaga messyym demogempta teremegarz salmachaon
alpibanon baton septzurz sapremo sapiazte baryon aria usyon sameszion
sepha athmiti sobonan Armissiton tintingit telo ylon usyon, Amen.
[S149] Azay lemach azae gessemon thelamech azabhaihal sezyon traheo
emagal gyeotheon samegon pamphilos sitragramon limpda jachim
[iachim] alna hasios genonagal samalayp camiel secal hanagogan
heselemach getal sam sademon sebmassan traphon oriaglpan thonagas
tyngen amissus coysodaman assonnap senaly sodan alup theonantriatos

1 The following Sections have been assigned arbitrary numbers prefaced with 'S'
for 'Supplement' and come from either Version B or the Opus Operum.

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copha anaphial Azathon azaza hamel hyala saraman gelyor synon

banadacha gennam sassetal maga halgozaman setraphangon zegelune
Athanathay senach zere zabal somayel leosamach githacal halebriatos
Jaboy [laboy] del masan negbare phacamech schon nehooz cherisemach
gethazayhy amilya semem ames gemay passaynach tagayl agamal {107}
fragal mesi themegemach samalacha nabolem zopmon usyon felam
semessi theon, Amen.
[S150] The third part, the sign Lemach.
Lemach sabrice elchyan gezagan tomaspin hegety gemial exyophyam
soratum salathahom bezapha saphatez Calmichan samolich lena zotha
phete him hapnies sengengeon lethis, Amen.
[S151] For the memory.
Oh great invisible God, Theos patyr behominas Cadagamias imas by
thy Holy Angels, who are Michael the Medicine of God; Raphael the
Fortitude of God, Gabriel ardens holy per Amassan, Cherubin,
Gelommeios [gelommetos], Sezaphim [Seraphin] gedabanan, tochrosi
gade anathon, zatraman zamanary gebrienam [gebrienan]: Oh fulness,
Holy Cherubins, by all thy Angels, and by all thy glorious Arch­
angels, whose Names are consecrated by God, which ought not to
be spoken by us, which are these, dichal, dehel depymon exluse
exmegon pharconas Nanagon hossyel ozogon gathena ramon garbona
vramani Mogon hamas;
[S152] {108} Which humane sence cannot apprehend: I beseech
thee, Oh Lord illuminate my Conscience with the Splender of thy
light, and illustrate and confirm my understanding with the sweet
odor of thy Spirit; adorne my Soul, reform my heart, that hearing I
may understand, and retain what I hear in my Memory. Oh
mercyful God, appease my bowels, strengthen my Memory, open
my mouth mercifully; temperate my Tongue by thy glorious and
unspeakable Name: thou who art the Fountain of all goodness,
have patience with me, and give a good Memory unto me, &c.
[S153] Say these Orations in the fourth [quarter] D viz.

Hely schemath, Alpha and Omega, Theos megale.1

Oh light of the World, Azalemach, great God I beseech thee:
These ought to be said in the 8[th], 12[th], 10[th], [16th], 20[th], 24[th],

1 See S147.

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28[th], 30[th], and in all these Lunations rehearse them four times; in the
morning once, the third hour once, the ninth once, and once in the
evening; and in the other dayes rehearse none, But them of the first day,
which are Alpha and Omega,
Helyschemat, Almighty, incomprehensible, I adore thee; {109} I
confesse my self guilty: O Theos hazamagiel: Oh mercyful Lord God,
raise up the sences of my flesh: Oh God of all living, and of all
Kingdomes, I confesse Oh Lord this day, that I am thy servant.
Rehearse these Orations also in the other dayes four times, once in the
morning, once in the evening, once about the third hour, and once on the
ninth; And thou shalt acquire Memory, Eloquence and stability fully,
Amen.
[S154] The Conclusion of the whole work, and Confirmation of the
Science obtained.
Oh God, Maker of all things; who hast created all things out of
nothing; who hast wonderfully created the Heaven and Earth, and
all things by degrees in order, in the beginning, with thy Son, by
whom all things are made, and into whom all things shall at last
return: Who art Alpha and Omega: I beseech thee though a sinner,
& unworthy, that I may attain to my desired end in this Holy Art,
speedily, and not lose the same by my sins; but do good unto {110}
me, according to thy unspeakable mercy: who doth not [do] to us
after our sins, nor rewardeth us after our iniquities, Amen.
[S155] Say this in the end devoutly:
Oh wisdome of God the Father incomprehensible, Oh most
mercyful Son, give unto me of thy ineffable mercy, great
knowledge and wisdome, as thou didst wonderfully bestow all
Science to King Solomon, not looking upon his sins or wickedness,
but thy own mercies: wherefore I implore thy mercy, although I
am a most vile and unworthy sinner, give such an end to my
desires in this art, whereby the hands of thy bounty may be
enlarged towards me, and that I may the more devoutly walk by
thy light in thy wayes, and be a good example to others; by which
all that see mee, and hear me, may restrain themselves from their
vices, and praise thy holyness through all Worlds, Amen.
Blessed be the Name of the Lord, &c. rehearse these two Orations
alwayes in the end, to confirm thy knowledge gained.

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[S156] {111} The Benediction of the place.

Blesse Oh Lord this place, that there may be in it Holy Sanctity,
chastity, meekness, victory, holiness, humility, goodness, plenty,
obedience of the Law, to the Father, Son, and Holy Ghost; Hear Oh
Lord, Holy Father, Almighty eternal God; and send thy Holy
Angel Michael, who may protect, keep, preserve and visit me,
dwelling in this Tabernacle, by him who liveth, &c.
When you would operate, have respect to the Lunations: they are to be
chosen in those moneths, when the O Rules in H and W T <ft ± b, in
these moneths you may begin.
[SI 57] In the Name of the Lord beginneth this most Holy Art, which the
most high God Administered to Solomon by his Angel upon the Altar,
that thereby suddenly in a short space of time, he was established in the
knowledge of all Sciences; and know, that in these Orations are
contained all Sciences, Lawful and unlawful; First, if you pronounce the
Orations of Memory, Eloquence, {112} and understanding, and the
stability thereof; they will be mightily increased, insomuch that you will
hardly keep silence; for by a word all things were Created, and by the
virtue of that word all created beings stand, and every Sacrament, and
that Word is God. Therefore let the Operator be constant in his faith, and
confidently believe, that he shall obtain such knowledge and wisdome,
in the pronouncing these Orations, for with God nothing is impossible:
therefore let the Operator proceed in his work, with faith, hope, and a
constant desire: firmly believing; because we can obtain nothing but by
faith; Therfore have no doubt in this Operation, whereof there are three
species, whereby the Art may be obtained.
[S158] The first species is Oration, and reason of a Godly mind, not by
attempting a voyce of deprecation, but by reading and repeating the
same in the inward parts. The second species is fasting and praying, for
the praying man God heareth. The third species is chastity; he that
would operate in this Art, let him be clean and chast by {113} the space
of nine dayes at least; and before you begin, it is necessary that you
know the time of the D for in the prime of the ]) it is proper to operate in
this Art: and when you begin so sacred an Art, have a care to abstain
from all mortal sins, at least while you are proceeding in this work until
it be finished and compleated: and when you begin to operate, say this
verse kneeling:
[SI 59] Lift up the light of thy Countenance upon me, Oh Lord my
God, and forsake not me thy servant N. that trusts in thee:

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Then say three times Pater Noster, &c. And assert that thou wilt never
commit wilfull perjury, but alwayes persevere in faith and hope. This
being done, with bended knees in the place wherein thou wilt operate,
say,
Our help is in the Name of the Lord, who hath made Heaven and
Earth: And I will enter into the Invocation of the most high, unto
him who enlightneth and purifieth my Soul and Conscience,
which dwelleth under the help of the most high, and continueth
under the protection of the God of Heaven: O Lord open and
unfold the doubts of my Heart, and {114} change me into a new
man by thy love: be thou Oh Lord unto me true faith, the hope of
my life, and perfect charity, to declare thy wonders.
Let us pray: Then say the Oration following:
[S160] Oh God my God, who from the beginning hast Created all
things out of nothing, and reformest all things by thy Spirit; restore
my Conscience, and heal my understanding, that I may glorify
thee in all my thoughts, words and deeds; through him who liveth
and reigneth with thee forever, Amen.
[S161] Now in the Name of Christ, on the first day of the Month, in
which thou wouldst acquire Memory, Eloquence and Understanding,
and stability thereof, with a perfect, good and contrite Heart, and sorrow
for thy sins committed; thou maist begin to pronounce these Orations
following, which appertain to the obtaining of Memory and all Sciences,
and which were composed and delivered by the Angel to Solomon, from
the hand of God.
[S162] The first and last Oration of this art, is Alpha and Omega: Oh God
omnipotent, &c.
{115} This following is an Oration of four Languages, which is this:
Hely, Schemat, Azatan, honiel sichut, tarn, imel, latatandema, Jetromiam
[letromiam], Theos: Oh Holy and strong God, Hamacha, mal,
Gottneman, Alazaman, Actuaar, Secheahal, Salmazan, zay, zojeracim
[zoieracim], Lam hay, Masaraman, grensi zamach, heliamat, seman,
selmar, yetrosaman muchaer, vesar, hasarian Azaniz, Azamet,
Amathemach, hersomini.
And thou most Holy and just God, incomprehensible in all thy
works, which are Holy just and good;
Magol, Achelmetor, samalsace, yana, Eman, and cogige, maimegas,

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zemmail, Azanietan, illebatha sacraman, reonas, grome, zebaman,

zeyhoman, zeonoma, melas, heman, hathoterma, yatarmam, semen,
semetary, Amen.
This Oration ought to follow the first of the ten above written.
[SI 63] To perform any work.
This is to follow the third Oration above:
I confesse, O Theos hazamagiel gezuzan, sazaman, Sathaman,
getormantas, salathiel, nesomel, megal vuieghama, yazamir, zeyhaman,
hamamal amna, nisza, {116} deleth, hazamaloth, moy pamazathoran
hanasuelnea, sacromomem, gegonoman, zaramacham Cades bachet
girtassoman, gyseton palaphatos halathel Osachynan machay, Amen.
[S164] This is a true and approved experiment, to understand all Arts
and secrets of the World, to find out and dig up minerals and treasure;
This was revealed by the Heavenly Angel in this Notory Art. For this Art
doth also declare things to come, and rendereth the sense capable of all
Arts in a short time, by the Divine use thereof.
We are to speak also of the time and place. First therefore, all these
precepts are to be observed and kept; and the Operator ought to be
clean, chaste, to repent of his sins, and earnestly desire to cease from
sinning as much as may be; and so let him proceed, and every work
shall be investigated into him, by the Divine Ministery.
[SI65] When thou wilt operate in the new Moon, kneeling say this verse:
Lift up the light of thy Countenance upon us, Oh God, and forsake
us not, Oh Lord our God.
Then say three times the {117} Pater Noster: And afterwards let him vow
unto God, that he will never commit wilfull perjury, but alwayes persist
in [the Catholic]1 faith. This being done, at night say with bended knees
before thy bed, "Our help is in the Name of the Lord, &c." and this Psalm;
"Whoso dwelleth under the shadow of the wings of the most high,"2 to the end;
and the Lords Prayer, and the Prayer following.
[S166] Theos Pater vehemens; God of Angels, I Pray and invocate
thee by thy most Holy Angels Eliphamasay, Gelomiros [gelomicros],
Gedo bonay [gedobonai], Saranana [Saromana], Elomnia, and by all thy
Holy Names, by us not to be pronounced, which are these:

1 Omitted by Turner as he was a Protestant.

2 KJV Psalm 91.

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de. El. X p n k h t li gyp, not to be spoken, or comprehended by

humane sense;
I beseech thee cleanse my Conscience with the Splendor of thy
Name; illustrate and confirm my understanding with the sweet
savour of thy Holy Spirit: O Lord Adorne my Soul, that I may
understand and perfectly remember what I hear; reform my Heart,
and restore my Heart, and restore my sense Oh Lord God, and
heal my bowels: open my mouth most merciful God, and frame
and temper my Tongue to {118} the praise and glory of thy Name,
by thy glorious and unspeakeable Name. O Lord, who art the
Fountain of all goodness, and original of all piety, have patience
with me, and give unto me a true understanding, to know
whatsoever is fitting for me, and retain the same in Memory: thou
who dost not presently Judge a sinner, but mercifully expectest
repentance; I beseech thee, though unworthy, to wash away the
filth of my sins and wickedness, and grant me my petitions, to the
praise and glory of thy Holy Name; who livest and reignest one
God in perfect Trinity, World without end, Amen.
[S167] Some other precepts to be observed in this work.
Fast the day following with bread and water, and give Aimes; if it be the
Lord's day, then give double Aimes;1 be clean in body and mind; both
thy self, and put on clean Cloaths.
[S168] {119} The processe follows.
When thou wilt operate concerning any difficult Probleme or Question,
with bended knees, before thy bed, make Confession unto God the
Father; and having made thy Confession, say this Oration.
Send Oh Lord thy wisdome to assist me, that it may be with me,
and labour with me, and that I may alwayes know what is
acceptable before thee; And that unto me N. may be manifested the
truth of this question or Art.
[S169] This being done, Thrice in the day following, when thou risest,
give thanks to God Almighty, saying, Glory and honour, and
benediction be unto him that sitteth on the T[h]rone, and that liveth for
ever and ever, Amen. With bended knees and stretched out hands.
[SI 70] But if thou desirest to understand any book, ask of some that hath

1 Charity, or the distribution of money to the poor.

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knowledge therein, what that book treateth of:1 This being done, open
the book, and read in it; and operate as at first three times, and alwayes
when thou goest to sleep, write f [and afterwards]2 Alpha and Omega,
{120} and afterwards sleep on thy right side, putting the palme of thy
hand under thy Ear, and thou shalt see in a dream all things thou
desirest; and thou shalt hear the voyce of one informing and instructing
thee in that book, or in any other faculty wherein thou wilt operate: And
in the morning, open the book, and read therein; and thou shalt
presently understand the same, as if thou hadst studyed in it a long
time: And alwayes remember to give thanks to God, as aforesaid.
[SI 71] Afterwards on the first day say this Oration:
Oh Father, Maker of all Creatures; by thy unspeakeable power
wherewith thou hast made all things, stir up the same power, and
come and save me, and protect me from all adversity of Soul and
Body, Amen.
Of the Son say,
O Christ, Son of the living God, who art the Splendor and Figure
of light, with whom there is no alteration nor shaddow of change;
Thou Word of God most high, thou wisdome of the Father; open
unto me, thy unworthy servant N. the veins of thy saving Spirit,
that I may wisely understand, retain in Memory, and declare {121}
all thy wonders: Oh wisdome, who proceedest out of the mouth of
the most high, powerfully reaching from end to end, sweetly
disposing of all things in the World, come and teach me the way of
prudence and wisdome. Oh Lord which didst give thy Holy Spirit
to thy Disciples, to teach and illuminate their Hearts, grant unto
me thy unworthy servant N. the same Spirit, and that I may
alwayes rejoyce in his consolation.
[SI 72] Other precepts.
Having finished these Orations, and given Aimes, when thou entrest
into thy Chamber, devoutly kneel down before thy bed, saying this
Psalm:
Have mercy upon me, O God, according to the multitude of thy great

1 It is necessary to also study the subject in the normal manner. The magical
process will speed up the learning but not altogether replace it.
2 Omitted by Turner.

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mercies, &c.1 and, In thee Oh Lord have I trusted, &c.2 [as is

customarily read during the evening prayer service.]3
Then rise up, and go to the wall, and stretch forth thy hands, having two
nayles [nails] fixed,4 upon which thou maist stay up thy hands, and say
this Prayer following with great devotion:
[SI 73] O God, who for us miserable sinners didst undergo the
painful death upon {122} the Crosse; to whom also Abraham offer'd
up his son Isaac; I thy unworthy servant, a sinner perplexed with
many evils, do this day offer up and Sacrifice unto thee my Soul
and Body, that thou maist infuse into me thy Divine wisdome, and
inspire me with the Spirit of Prophesy, wherewith thou didst
inspire the Holy Prophets.
[SI74] Afterwards say this Psalm; Oh Lord incline thine ears unto my words,
&c.5 and add,
The Lord is my shepherd, and nothing shall I want: he shall set me
down in green pastures, his servant N. he shall lead me upon the
waters of refreshment, he converteth my Soul,6 and leadeth me N.
upon the paths of his righteousness for his Holy Name: Let my
evening Prayer ascend up unto thee Oh Lord, and let thy mercy
descend upon me thy unworthy servant N. protect, save, blesse,
and sanctify me, that I may have a shield against all the wicked
darts of my enemies: defend me Oh Lord by the price of the blood
of the just One, wherewith thou hast redeemed me; who livest and
reignest God, whose wisdom hath laid the foundation {123} of the
Heaven, and formed the Earth, and placed the Sea in her bounds:
and by the going forth of thy Word hast made all Creatures, and
hath formed man out of the dust of the Earth, according to his own
image and likeness; who gave to Solomon the son of King David
inestimable wisdome: hath given to his Prophets the Spirit of
Prophesy, and infused into Philosophers wonderfull Philosophical
knowledge, confirmed the Apostles with fortitude, comforted and
strengthened the Martyrs, who exalteth his elect from eternity, and
provideth for them; Multiply Oh Lord God, thy mercy upon me

1 KJV Psalm 51.

2 KJV Psalm 31.
3 Omitted by Turner, because it suggested Catholic ritual.
4 In modum crucis, on the cross.
5 KJV Psalm 5.
6 KJV Psalm 23.

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thy unworthy servant N. by giving me a teachable wit, and an

understanding adorned with virture and knowledge, a firm and
sound Memory, that I may accomplish and retain whatsoever I
endeavour, through the greatness of thy wonderful Name; lift up,
Oh Lord my God, the light of thy countenance upon me, that hope
in thee: Come and teach me, Oh Lord God of virtues, and shew me
thy face, and I shall be safe.
Then add this Psalm:
"Unto thee Oh Lord do I lift up my Soul: Oh my God {124} in thee
do I trust;"1 excepting that verse, Confundantur, &c.
[SI 75] Having fulfilled these things upon the wall, descend unto thy
Bed, writing in thy right hand Alpha and Omega: then go to bed, and
sleep on thy right side, holding thy hand under thy right Ear, and thou
shalt see the greatness of God as thou hast desired. And in the morning,
on thy knees, before thy bed, give thanks unto God for those things he
hath revealed to thee:
I give thanks unto thee, Oh great and wonderful God, who hast
given Salvation and knowledge of Arts unto me thy unworthy
servant N. and confirm this Oh God, which thou hast wrought in
me, in preserving me. I give thanks unto thee, O powerful Lord
God, who createdst me miserable sinner out of nothing, when I
was not, and when I was utterly lost; not redeemed, but by the
precious blood of thy Son our Lord Jesus Christ; and when I was
ignorant thou hast given unto me learning and knowledge: grant
unto me thy servant N. O Lord Jesus Christ, that through this
knowledge, I may be alwayes [be] constant in thy Holy service,
Amen.
[SI 76] These operations being devoutly compleated, give thanks daily with
these last Orations. But when thou wouldst read, study, or dispute, say,
Remember thy word unto thy Servant, O Lord, in which thou hast
given me hope; this is my comforter in humility.
Then add these Orations:
Remember me O Lord of Lords, put good words and speech into
my mouth, that I may be heard efficaciously and and powerfully,
to the praise, glory, and honour of thy glorious Name, which is

1 KJV Psalm 25.

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Alpha and Omega, blessed for ever, World without end, Amen.
Then silently say these Orations.
O Lord God, that daily workest new signs and unchangeable
wonders, fill me with the Spirit of wisedome, understanding and
Eloquence; make my mouth as a sharp Sword, and my Tongue as
an arrow elected, & confirm the words of my mouth to all
wisdome: mollify the Hearts of the hearers to understand what
they desire, Elysenach, Tzacham, &c.

[Finis.]

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[Part 5 - On the Figure of Memory]

[S177] {126} The manner of Consecrating the Figure of Memory.1
It ought to be consecrated with great faith, hope and charity; and being
consecrated, to be kept and used in operation as followeth.
On the first day of the new Moon, having beheld the new Moon, put the
Figure under your right Ear, and so consequently [subsequently] every
other night, and seven times a day; the first hour of the morning saying
this Psalm, Qui habitat, &c.2 throughout; and the Lords Prayer once, and
this Oration Theos Patyr once in the first hour of the day: then say this
Psalm, Confitebor tibi Domine, &c.3 and the Lords Prayer twice, and the
Oration Theos Patyr twice.
In the third hour of the day [say] the Psalm Benedicat anima mea
Dominum, &c.4 the Lords Prayer thrice, and the Oration Theos Patyr.
In the sixth hour say this Psalm: Appropinquet deprecatio mea in conspectu
tuo Domine, secundum eloquium tuum.5
Grant unto me Memory, and hear my voyce according to thy great
mercy, {127} and according unto thy word grant Eloquence, and
my lips shall shew forth thy majesty, when thou shalt teach me thy
Glory: Gloria path, &c, say the Lords Prayer nine times, and Theos
Patyr.
In the nineth hour, say the Psalm Beati immaculati in via;6 the Lords
Prayer 12 times, and Theos Patyr.
In the Evening say this Psalm, Deus misereatur nostri:7 the Lords Prayer
15 times, and Theos Patyr as often.
The last hour say this Psalm, Deus Deus meus respice in me, &c.8 & Deus in

1 Consecrations of the Figure follows the Catholic method of consecration. See

Figure 06.
2 KJV Psalm 91. The first line of the Psalm functions as a title and has not therefore
been translated. Refer to the King James version of the Bible for the full text in
English. The use of Psalms in magic was, and is, an established tradition.
See David Rankine & Harry Barron, The Book of Gold, London: Avalonia, 2010.
3 KJV Psalm 138.
4 KJV Psalm 103 or 104.
5 KJV Psalm 119:168.
6 KJV Psalm 119.
7 KJV Psalm 67.
8 KJV Psalm 22.

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adjutorium meum intende,1 and te Deum Laudamus;2 the Lords Prayer once,
and Theos Patyr: then say the Oration following twice.
O God, who hast divided all things in number, weight, and
measure, in hours, nights, and dayes; who countest the number of
the Stars, give unto me constancy and virtue, that in the true
knowledge of this Art Nfotoria]. I may love thee, who knows the
gifts of thy goodness, who livest and reignest, &c.
[SI 78] {128} Four dayes the Figure of Memory ought to be consecrated
with these Orations.
O Father of all Creatures, of the Sun and Moon.
Then on the last day let him bath himself, and put on clean garments,3
and clean Ornaments, and in a clean place, suffumigate himself with
Frankincense, and come in a convenient hour in the night with a light
Kindled, but so that no man may see thee; and before the bed upon your
knees say this Oration with great devotion.
O most great and most Holy Father, seven or nine times: then put the
Figure with great reverence about your Head; and sleep in the Bed
with clean linnen vestiments, and doubt not but you shall obtain
whatsoever you desire for this hath been proved by many, to
whom such coelestial secrets of the Heavenly Kingdome are
granted, Amen.
{129}

[Figure 64: The Figure of Memory]

1 KJV Psalm 70.

2 Part of the standard Liturgy of the Hours.
3 Lectisternium, a Robe in which the Priests used to sleep in the Temples, to
receive the divine Oracles. - Turner.

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[S179] The Oration following ought to be said as you stand up.

O great God, Holy Father, most Holy Sanctifier of all Saints, three
and one, most high King of Kings, most powerful God Almighty,
most glorious and most wise Dispensor, Moderator, and
Governour of all Creatures, visible and invisible: O mighty God,
whose terrible and most mighty Majesty is to be feared, whose
omnipotency the Heaven, the Earth, the Sea, {130} Hell, and all
things that are therein, do admire, reverence, tremble at, and obey.
O most powerful, most mighty, and most invincible Lord God of
Sabaoth: O God incomprehensible; the wonderful Maker of all
things, the Teacher of all learning, Arts and Sciences; who
mercifully Instructest the humble and meek: O God of all wisdome
and knowledge, In whom are all Treasures of wisdome, Arts and
Sciences; who art able instantly to infuse Wisdome, Knowledgfe],
and Learning into any man; whose Eye beholdeth all things past,
present, and to come; who art the daily Searcher of all hearts;
through whom we are, we live and dye; who sittest upon the
Cherubins; who alone seest and rulest the bottomeless pit: whose
Word gives Law throughout the universal World: I confesse my
self this day before thy Holy and glorious Majesty, and before the
company of all Heavenly virtues and Potentates, praying thy
glorious Majesty, invocating thy great Name, which is a Name
wonderful, and above every Name, blessing thee O Lord my God:
I also beseech {131} thee, most high, most omnipotent Lord, who
alone art to be adored; O thou great and dreadful God Adonay,
wonderful Dispensator of all beatitudes, of all Dignities, and of all
goodness; Giver of all things, to whomsoever thou wilt, mercifully,
aboundantly and permanently: send down upon me this day the
gift of the grace of thy Holy Spirit. And now O most merciful God,
who hast created Adam the first man, according to thy image and
likeness; fortify the Temple of my body, and let thy Holy Spirit
descend and dwell in my Heart, that I may shine forth the
wonderful beams of thy Glory: as thou hast been pleased
wonderfully to operate in thy faithful Saints; So O God, most
wonderful King, and eternal glory, send forth from the seat of thy
glorious Majesty, a seven-fold blessing of thy grace, the Spirit of
Wisedome and Understanding, the Spirit of fortitude and Counsel,
the Spirit of knowledge and Godliness, the Spirit of fear and love of
thee, to understand thy wonderful Holy and occult mysteries,

235
 Ars Notoria

which thou art pleased to reveal, and which are fitting for {132}
thine to know, that I may comprehend the depth, goodness, and
inestimable sweetness of thy most immense Mercy, Piety and
Divinity. And now O most merciful Lord, who didst breathfe] into
the first Man the breath of life, be pleased this day to infuse into
my Heart a true perfect perceiving, powerful and right
understanding in all things; a quick, lasting, and indeficient
Memory, and efficacious Eloquence; the sweet, quick and piercing
grace of thy Holy Spirit, and of the multitude of thy blessings,
which thou bountifully bestowest: grant that I may despise all
other things, and glorify thee alone the God of all things, the only
true and perfect good, that I may for ever glorify, praise, adore,
bless and magnify thee the King of Kings, and Lord of Lords; and
alwayes set forth thy praise, mercy, and omnipotency: that thy
praise may alwayes be in my mouth, and my Soul may be
inflamed with thy Glory for ever before thee. O thou who art God
omnipotents, King of all things, the greatest peace and perfectest
wisdome, ineffable and inestimable sweetness and delight, the
unexpressible {133} joy of all good, the desire of all the blessed,
their life, comfort, and glorious end; who was from eternity, and is
and ever shall be virtue invincible, without parts or passions;
Splendor and glory unquenchable; benediction, honour, praise,
and venerable glory before all Worlds, since and everlastingly time
without end, Amen.
[S180] The following Oration hath power to expell all lusts.1
O Lord, Holy Father, omnipotent eternal God, of
inestimable mercy and immense goodness; O most
merciful Jesus Christ, repairer and restorer of mankind;
O Holy Ghost, comforter and love of the faithful: who
boldest all the Earth in thy fingers, and weighest all the
Mountains and Hills in the World; who dost wonders
past searching out, whose power there is nothing can resist, whose
wayes are past finding out: defend my Soul, and deliver my Heart
from the wicked cogitations of this World; extinguish and repress
in me by thy power all the sparks of lust and fornication, that I
may {134} more intentively love thy works, and that the virtue of
thy Holy Spirit may be increased in me, among the saving gifts of
thy faithful, to the comfort and salvation of my Heart, Soul, and

1 The nota of Chastity is from Yah. Vah. 34, f. 20, as it does not appear in Mellon 1.

236
 Ars Notoria

Body. O most great and most Holy God, Maker, Redeemer, and
Restorer of mankind, I am thy servant, the Son of thy hand-maid,
and the work of thy hands: O most merciful God and Redeemer, I
cry and sigh before the sight of thy great Majesty, beseeching thee,
with my whole Heart, to restore me a miserable sinner, and receive
me to thy great mercy; give me Eloquence, Learning, and
Knowledge, that those that shall hear my words, they may be
mellifluous in their Hearts; that seeing and hearing thy wisdome,
the proud may be made humble, and hear and understand my
words with great humility, and consider the greatness and
goodness of thy blessings, who livest and reignest now and for
ever, Amen.
Note, that if you desire to know any thing that you are ignorant of,
especially of any Science, read this Oration: "I confess my self to thee this
day, O God the Father of Heaven and Earth," {135} three times; and in the
end express for what you desire to be heard; afterwards, in the Evening
when you go to Bed, say the Oration Theos throughout, and the Psalm
Qui Habitat,1 with this versicle, Emitte Spiritum; and go to sleep, and take
the Figure [of Memory] for this purpose, and put it under the right Ear:
and about the second or third hour of the night, thou shalt see thy
desires, and know without doubt that which thou desirest to find out:
and write in thy right hand Alpha and Omega, with the sign of the
Cross, and put that hand under thy right Ear, and fast the day before;
only once eating such meat as is used on fasting dayes.

1 KJV Psalm 91.

237
9. Complete sets of Notae from four other Manuscripts

Note: if there is more than one nota on a page, the letters a, b, c, etc. are
used to identify the particular nota in the caption. These are lettered
strictly, column by column, downwards commencing in the top left
corner. However the manuscript scribes have not always been as
consistent in the order the notae were laid out on the page. Sometimes
this results in captions that seem out of order: e.g. First Philosophy,
Third Philosophy, Second Philosophy, etc., but this is correct in terms of
keeping to the above top to bottom layout rule.

239
 The Notae - BL Sloane 1712

Ars Notoria Salomonis

(Version A)1

c. 1250

Figures 65-81

1 This manuscript also contains a copy of Opus Operum on ff. 22v-37r, which has three of its notae
also reproduced here.
240
 Ars Notoria

First Nota of Grammar - f. 14v.

241
 Ars Notoria

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Second Nota of Grammar - f. 15.

242
 Ars Notoria

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Third Nota of Grammar - f. 15v.

243
 Ars Notoria

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First Nota of Dialectic - f. 16v.

244
 Ars Notoria

’em.'

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Second Nota of Dialectic - f. 17v.

245
 Ars Notoria

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First Nota of Rhetoric - f. 18.

246
 Ars Notoria

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a. Second Nota of Rhetoric - f. 18v. [See page 92.]

247
 Ars Notoria

a. Fourth Nota of Rhetoric; b. First Nota of Geometry - f. 19.

248
 Ars Notoria

a. First Nota of Arithmetic; b. Semi-No ta of Arithmetic; c. First Nota of Philosophy;

d. Second Nota of Philosophy - f. 19v.
249
 Ars Notoria

a. Third Nota of Philosophy; b. Fourth Nota of Philosophy; c. Fifth Nota of Philosophy;

d. Sixth Nota of Philosophy; e, f. Seventh Nota of Philosophy - f. 20.
250
 Ars Notoria

a. First General Nota; b. Second General Nota; c. Third General Nota; d. Fourth General Nota;
e. Fifth General Nota; f. Nota of Music; g. Nota of Self-Mastery & Silence;
h. First Nota of Physic [Medicine]; i. Exceptives Nota - f. 20v.
251
 Ars Notoria

a. Nota of Wonders and Marvels; b. Nota of Justice, Peace and Awe; c. First Nota of Theology;
d. First Nota of Theology (variant) - f. 21.
252
 Ars Notoria

a. Second Nota of Theology; b. Third Nota of Theology; c. Fourth Nota of Theology - f. 21v.

253
 Ars Notoria

Fifth Nota of Theology (the 'Ineffable') - f. 22.

254
 Ars Notoria

Nota of the whole faculty of Grammar - f. 36 detail. Opus Operum.

255
 Ars Notoria
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Opus Operum.
256
 Ars Notoria

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a. Second Note of Geometry; b. Noto Circulus of Astronomy - f. 37. Opus Operum.

257
 The Notae - BSB CLM 276, ff. lr-47v

Flores Aurei...Incipit opus operum et scientia scientiarum

(Opus Operum)

c. 1350

Figures 82-103

259
 Ars Notoria

First Nota of Grammar - f. 8.

260
 Ars Notoria

Second Nota of Grammar - f. 8v.

261
 Ars Notoria

Third Nota of Grammar - f. 9.

262
 Ars Notoria

First Nota of Dialectic - f. 9v.

263
 Ars Notoria

Second Nota of Dialectic - f. 10.

264
 Ars Notoria

First Nota of Rhetoric - f. 10v.

265
 Ars Notoria

11

Second Nota of Rhetoric - f. 11. [See page 92.]

266
 Ars Notoria

Third Nota of Rhetoric - f. llv. [See page 92.]

267
 Ars Notoria

Fourth Nota of Rhetoric - f. 12.

268
 Ars Notoria

First Nota of Geometry - f. 12v.

269
 Ars Notoria

Third Nota of Arithmetic - f. 13.

270
 Ars Notoria

Semi-Nota of Arithmetic - f. 13v.

271
 Ars Notoria

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272
 Ars Notoria

a. Second Nota of Philosophy; b. Fourth Nota of Philosophy; c. Third Nota of Philosophy - f. 14v.
(Full colour)

273
 Ars Notoria

Fifth Nota of Philosophy - f. 15v. (Full colour)

274
 Ars Notoria

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275
 Ars Notoria

a. Seventh Nota of Philosophy; b. Third General Nota - f. 16v.

276
 Ars Notoria

a. First General Nota; b. Second General Nota; c. Third General Nota;

d. Fourth General Nota - f. 17.
277
 Ars Notoria

a. Heaven Stars (Planets) - Astronomy Nota; b. Music Nota; c. Exceptives Nota;

d. Self-mastery & Silence Nota; e. Wonders & Marvels Nota - f. 17v.

278
 Ars Notoria

a. First Nota of Physic [Medicine]; b. First Nota of Theology - f. 18.

279
 Ars Notoria

a. Second Nota of Theology; b. Third Nota of Theology; c. Fourth Nota of Theology - f. 18v.

280
 Ars Notoria

Fifth Nota of Theology - f. 19. (Full colour)

281
The Notae - BnF Lat. 9336

Sacratissima Ars Notoria

Version B

1360-1375

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283
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284
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Second Nota of Grammar - f. 18v.

285
 Ars Notoria

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I <i -erw CT wcimww. Xxx^lcgmiat innig tine -i iUuf.y

Third Nota of Grammar - f. 19.

286
 Ars Notoria

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First Nota of Dialectic - f. 19v.

287
 Ars Notoria

T&lortKW tn(pftvri cpnąnicO .mrctfann fiomtuni

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\ ■. ętaotnótator. frnmlrł. Isleó • awnnp . ntefliaf. firtber- Tjattr Omcre tai« exmt?f
\ Vpref mcaf crcwiuii.1 mc fetat ifh> Cwae.;tmcn.
AyicmĘnnae gtuwnor Kgna pataicut pfre.i wioltuMrmlm.1 t>i’f .‘trftWjiię
\tt ilhic Icawoo nrtiih.

Second Nota of Dialectic - f. 20.

288
 Ars Notoria

t aciite mam Bgmumi ßc agyipinn cft- iiftnneflmo cciftioftgnvii»• <pte mnpit neteaurfqmnwwwwiäi ^iF.ilneftm
I Opmicimic. iimwguenier ttyintnnn .ntić twtjvt-icx ^ictnc fbpwm rytoci.^^ iicmcbn<tniii>)n<i<inći~iftmiiin giumierfigm-nnin’- ’
- ----------—----- 7- •■ - -———■—-—— " ..... •’—----- ---- ----- —-—> i.- ---- —------------—-------- ——-— — r ; ~T2—_
3jb» eńlao puo yvcfcratiii- im« iHrnń Rgiiium -tuen piniil dlii hi*;vitaö«tr Jfcil nom ■pivfev.nitnvyort. pceAiirecmaonein- -
jjmprcns criin(ćncwcpntcv.ońi'.ai:.inmnó orBńimjr.mtrecmetwngń iinatw • Cnmrmm. ntnfcnclsir. gim. bvibmoiw.gvn t
er ofic viVmcni. Cni fitnenc mis clafcuu aw ftfitm afiiiitngiiMua co nii ter. «naft- fcWmn. tdmem. irfmmnv.Kttvb.il. rfina
lainhtw qm oft ©mtwcw i«ł'. w&mis . .nuin.1 IbOicco-. mtfi fitlorote eh mato- bnn.»thniMtrfWf. fttelM. ledwf. a»o. niciair
rimtieme m nmlfigmn ci rtgnofcr qnc nftsimttofritimivcrq-ibfarnPiirvtW RROmcmlit. brnni-. pl»td. wnof- yctvH>a ■ gn.ilof. nicbiiq.'
"Ytibviai tftn cfl-^iita fiffiriijjyb^jreętm^h-iinulUlej-oyTO- mrten- ajwilxi. fcchtmnv. fiililx. Icrbcn. nied». ynfrrf • Icmcmwi.
.jmnnwcneiie luiuinonw ■<bmłie:mwń]i^mom(mc7lfe~0iaga Wł fiw »löta rfflflcnfrm efr nwgiiviflfij
»W ITO nKi&ir» Kl ae (V »xcang$nn\ii4ftfl(pny n
filjiröll
•ęftińytC hytitV s •—
r.mvtln» i'Cc. ifir
/ ,-^kmer. wn«i-:.wtor.fc«l. linn.lxHctwv. ivmoht- 'X ifh$ SiiflL ciwf. prnfir/ , 'fwiw.dws.bMor.iBiiiBf mtk
/ / Antal. in.-iM .nu&pr. ßpte. 1%«t- cbahlvf- nibii<W' wt- .1 ,5??p’5’' yMo’’’-" ■ ply /'v(- tttof-iwnmireimi. t>,nncM»f.
/ etMtflr. Riniy Ttinan», fophn • nvtgmM' mwnfc HrtlrtMi piTOiionic/ /h:>«i>for.SCm.i(Timh>r-0nm,i:.i!irof.«>
/ />l- Jcmwiw.twöm1»n.n0<h»neinqc\ t-of- femim. naUrtww. C ; -.’l- R«im fcllStjm. ftl/ A’|Win.1xitpnvr.viivt1x<>f.U,!OT,at{^f.I
/ /chir.WWn.mnpi -kwixi-ktfor.mejpti-rj' dMmcn. Srniub.wnm- hiiU \ rtr-łnftid. Iirnnnihn./ /n>’,emon-OTtm.i<mci.<rtmcini ec-
/ r"'\‘^ f®>|em, ;i'!«Wft<’’»i- de«ol Muiva^. ■ , • - ■., ■ .-v-: f'/ ,’’^^-fi»^m-dem*ie:anL
'0”’nc‘l; Knu.-.iini'. ffii-it.-.hii. ?.-,-nun.ibir (M ...» Wl-on. fttotomen• ä 'Uftt. \ .
lćmi-1- Äief- eure;/ m ' mwnnon. K-plvnvten.dr r y&T n^nÄ
.-k-nn-btf. ’Ä'. ßÄi /mftnem.<anmcfti> h.v..m,i.bu-ammMM-Ja
QbanMfRl.ine>-l»/
m- mrfcgmt. rlMplytn- lefcn. leovrerc Ictn.iia. (r.mi.i' isidx. movrlvn. dirf.w /X\ Im-. m-rinclMr- kier. R-denti'/: /iMmaicmm lxnw;miinr. |MM.irn,,«.. r^,.
wat'. Myrmtfxc.ttiLwmn.ittii. iMlCiiui. Ctbnon. mcgvlc. MW0alv nieichn .|»no?c. I ^nubr.fdonop. jetk. fonar. toCmo- ń.mn
■®n. CmwlMt. finmnmn/ 3lim.lmil- e>nc rbiirj» kbin.ittei.(Slein.il- ■ Crmoiep. lc»iMb.ivi’ Ic
mcsiurfm^. fvleiv-jimnpr- lipwnnsf. IcrniiMef.» fiiinntntvl • <n«foiiwn. / .
toini-w. intim-, tafmio.hmi^j,,, . n.-ivnnKi>. I1K1M qm perCmctii nmrclnmnntil łiMrioC gram tit«>loiv.iiMrple.ctt.vncn. wn
n.tplnimin-i-tlM Ccmenc / ; lec milhea Ctenmimtribnilh. \ \txigvf. icnomelihit. tm tri. fiigmnnnii. *
imibim mctlimif. ?v;vmi.f- dndnplvr. letteinc.fiJ
M- »th>m<gmiif.«®m.nv. |„ue,mlVwi)Z lM;rm. napliAnttv. iMph j <ts iwibiicwncni memeric er>re Ypmeefobr. an-iriencn. trniftm. hrimuu
ifpmntam. ipinapii-. lonnphit. tc(bioii.;od / ne. mmnrt»-. ßmcnc .ßlfeli.iüi ;, amfii nunoncm mtslk-ctiio ce \ \in.yrtvn .1unimii.v- isIkfinotW-te-Hcm»
iimimmici. lina^tri- y teoifictarin iwniin erMipt\ \Mm.mvn i>nxrt(vliclw.Ki}«i«-tol»jni-.
ji’fon- taplr- icnopWen leiielo • plctuii. mmpWIxl- rsm.nntvM. <b.i cwnć (acnacetitmRnpmimnm. \ \iMMnctiCTi«len.bamlxle.d’icdtm.iMc'
»n fiiomophi. mdpf- mrörl». mcl«tnvT.
'J.Wintnr. t.iniamln.lcmslt .httneti»/ rKxhp:. tlrßmmn-lvn. nui-hiV Ciieiic wio mcmi pmrcńimnemn.nK '- neneriwi. mcrtiloii. łneiiriim.mcn
rof.-vfron- kfvhin. IvImT bynv / cr mmcimn iiiiicnnm in tr ftliiii<tvma\ -gol- mcgehliig iiicttllb.lt
o • Maftr. Kiobeml’t; oh. ttsof. frlctlm-. Cnmreitb. ’ K -mnrcwwtty mffitnt crmifciicnn itrnfKSgg!?«”- '
Ivitftiv -Amen, lyie i-witw ntiqiif ntc (iitnrn cwnpkre wgnene ilhiio arne vn>qivr~~_^ _
ynii; mäinUnn; Jato» Cipictinmn ct pfcrmm ftcnaamni qm cc wiw
fchifimnns-inmio nintn filituW .ll>qnow piunn
nttpijrftl psire- __ iiirei-iiitHum.
lümfittoi- tvricatnO iciah.ifir imnu, ,
i woitw- Bi wie ifcnc nie ct pfia iöü er ftpft ■ li
. frvtemptttoii.ßincivlei. tetmeliiiplintcriploro
______ npbro. itlxwcrölirfwrcr.lwpiftm'crfpmverincnwKri-rencin'S förnnnoi- itni otnftatófii-
Zmtcfni MtttUrfintniiöitii tomi iinc<nfiiviconr<m$ew.ftpMm.0< »ichil. Mdwnof. wlomel ■
r ximid. fcphwiiin.(emevI.|Mn.ii.n.nKiri-lxl.fiio(-.gdov. idvli-n.; fairnniM.inavfinn#. iMßtbr
. '■ftyrtsö. tepbniBHV. Ixmuni-t'. tniaihif. li-lrlvtivf- ttlrmottvr. tavin; tromattxm - IxnciMnu- y
</lvtvn. ftnreiiiltl. gvsenti-. b.ttb.m.itrff. Jcctnr-nni-m• grd’.irnv./ 'S fltoft-iimc Hn-ivf- bmmvf. ismntnljinror. b.t \
„ z-'m. ftmiwt-. Jctivmaguof. ßinnni-. tiaimtlrl. (»n.il. (cnayr. rtrniilyv nalnliO q- icoiwi viftvf satM-iroi-eimn Ciln.t nie - im
’ /dmib. hitnanv. mcdmioniof. Jctom- badn-.il. lMinmyb.il. tfxigoro dnef- \vgtb be^CTCgcr-Iximn.tit'
/gm.Wiucv.ßcmnpif.fSnuttM.lcIteim-.frmvIeiof.gctlratan. ~ i<m. mmätebr- mctitamve • b.iui
hinO Gino tibi boPiceKvnfitrorwnf nmicftttc tw- In anno cm liHhniwmni .ymniipi remeftr- ixttaiwv - anutgef- ftrf«m-in
onfe nMamfitviiM ct ßimotl c.ego toiO tepi-ctor tc cr fimety letnv ncgmii .te ańe m relcrtic rtcm. lxiraf - Cyplximvcfi- O.llpb.’,
i nui mcfebilc • qu.itötno p.-r nivtitrcm. onini Cmcttninn linie ttmnlcrrclkiiO .-mgtćnńft oo. pivresv corpup mcii mnnnimi nimm
ri.in-qncbic ixitio«rÄinnwvctncmino hjwc.Wiftn . ''fiiinvi'.nigrfmiii.oi-a.'lnngin.. n- mcii er wnlhcncunn niqim ■ mcnioi-uiiv
i /finit« opnnaoiiiO cfRxtitni mneO tue pictnno mdmtf cr iroilq lopumni «iicfiiretms nnhnoniu ni niooncm nmliccnim lento niw mtvn
tnop .-womoato itt iiflmcntt ni.inn tn,i gviaa quütxlitciv fi lOcffiBinivmirfiocnfip tnemwM 5t x evrevtovesoo mcii liönusi mc-n-ifiimt
lerer fetunbtv ci'.nweqiiactliim fcnomh «rfiee nie m ćmo im-tiimir«)cOfiiinii-7cfhn.tronorficl qivninivmcitcfclbilitnre «intuR ucrintte.
rcicnci’ ’rtn-crrnftriic tu qm cs■almlnniw erfillns nibrn - 4fliftvim,i fine lttv.an-.iin tnft Elftes wi ■wio tfc(Muter- tu qm c£> oimw(romi<r nirn
i dWv.T.iov.j owic «■scpiwctcvotv-iirit«. cröiiicvmplriifie oimn (Iftrń nifiliiltrt a imtUnhm rii <1 fri.is viCpofitin- »Ttn- Imyitm. qm oiln fin
I isteftxu .ixii tn äywmam « yevfcini (hcntiani f rKrwcK.nuiltiplimtx.ftninmrcpIctc.pfintv. m iiimmio iwmblwnAwjautnocOmvc film;
i flvre Ifta iuw.im tvwc per re .inpni-cn: er mentq brtnmttc e. inen.»« crnfiiitci-.trtr^itc oNaii ifittr nie feinbi <x «fcxtibi er rö ovainb: ite pgii
ice-ct ni initniite (tiernln fiipw.1 .ymfiein cvrOii' ni« Kle IW niećaMeS ttftfciisiirqnlat firmiio.'
ine ipcme tvincntMve. ut-nomcii Ctuaiun nn «tö i iRvTtv epc Iah' tincr- ct fis c fiit
I \ on-rdiiir n gtcnoKini nnc a feinpn- men«; wtvcnqilctcniävimeii.itfiviMiofdtiii. xinć(hn«cy.i ägiMtu.u ün finpfil m
Yyialcnn wHanwire. qnor- iftnin.i nmllcmi mcii-i ffiiffb niliifflAfltf bntnmmtf mc-lnimiW «.oüim.icßvv wntnä a’öntctur. iiWip fiinvpmvm-
\ \no qm Mini mmo erv wf. torom-, incy.il . pionnn.itih-O • tcmolr- lenn . vcmctb.im lOTdWO * >lrf<V *>«« meVF'l'?’®
\ \(teilotiiin amen. ns. tiicri-.ii'lv. 1(-fwn4f tlw(mwtł>ilni nouAgmtlić. fomui * rptatiuimiffli -wi*“*--
/fcyl.Min.ihil InillaUnW.ftttimitbii cotHmrlvib-noŁv1vb.mi.niL. !i*.imKb.itei«]tnwi
bmnoit. icynor.rmilM|.'Wtoi--p1ieniombitl. rmutof- greiynonitut. li to (rötst m n (vficen
mvlxl - telplio. wmbf ■ legrmrlel. tricknnof- liimmi. nmneircl ■ ftynoro afnicns qditj fjnv-
iicre wić i nie tifc» mci
frmncl. Jcfttoi rotof tmnl;tili>.1cp.iwni. ftnicie-tiwMf. łwmiiH-Wychr- it.ltflCTißi löSte <W
cboron finiii-b>im. bsllnsl-r • Rinn • b.ifoini}-. icgoftncf. ßlnigno• fcgnbo- ęm (Ć .1 fimiitnre Kn .-I
tiwnen- (iini.iinr. Imtiofcim.il• fttl’Of - tcncyc- mclcbt. clKt|-wnmvbc.tcriii-ICi ireriiUyVte-'
fotvlx'. fti-ntolftf. bmiwtmebt cvloyb.v gv-.nof. i-cftomcbftf! ttcłnhhor- Hslmmi- W-utiifcl ftiM
nrf-ba. tcw- nwsiir. jcjvlmvf hmimphsü. renof- grwtba.ynolor- »>«»* • ttindntf- iare f« yftiS.t
n.ntnpl'oal. fettn-mnf. Mi-ter .icrbon. incjfanlM-. lcincivn.iMi»niy. Ihm. tolwiw- ‘if’-tnocOmy
bnbilcnc- fiWii-n- bnrvlvnovl (ccror.l. inrnnii-• Iccdob.il. »-ftwuahl. innmmbrt. ni.ittnoC.
Inbslx jocloi-f. Ctnonimg,-. yriotlwf. Innomiittivof. mrywnen. ycmcniv-(cmii;m-i>- (i
cbo- romimfm-■ annvCciicni • Mtancvnof- hnii.iicmar. Gmistylvlcn-Tctli:. fonim- .wmyhm. .-»«mW«*

’ «nie
Iccfimitta • liilonuii. 'ßencvtaw ono tm ww büvuarwrweii.eriaijtat «iiiimn mMm-euipfair
mc |iiu>tenitomiFim-Pic nmlntupmu; nie utrpic mirl-i y®r»-mnr>«4JpÄnnMh« ’fiicniW®lfi0j-
'■ xmnanni ucniioin amtulir amrennn ct eomimumi F1' nenatem ■pirmiifiionis nie icvphawilio • tu qm
\ vremittu’ -pottnnfflwc faehbi nuO mtc fpnwint» cr firmier«tantU» tauni renn in mc wie fimete
\ «Xitel-- bowe pir nunn Rifflnmm mifin irerSUl* ilhtv -rmirn ifcio nui fimemni onmnennniicvnirieit
' a wiifirmmt mgrwiff- er cvcc anifii qua ftofc Uhic lerne rmetn ofttncc piv rpivmi Gmctimi tim;
tu qm regiMO er rvginibio IMiio nur nÄmjsv.niRaift ftmlcvinn innen,
jtv fiiiitrt ftwto mtenuilW »wnms iw/öm fisimij
Cifpiculł ft-imU riyvivS fffiiil eins?-

dir P.KuW nA\

mithin; pirte-t x
legnę ipuäni pttin-

First Nota of Rhetoric - f. 20v.

289
 Ars Notoria
MU awta**
iÄm'W«! »włflWtnt
tuncuXCC «and wne tnräl’S fitptalbUG ftllJÖv3/t AixiAngehS OÜ»
mJcftb» *mw«etramntfimtałiteif tcwftyibnfl x emiiflz.
m^mütovoÄ plcnnntmiiS ncnte ntnbi anobtf ftmirtcf
TStgratwit«1 pr ■' - p"t :wn *
iftw
fproimmtaer
l<pii ’'
ftnutac- Cimalrr- ctomrrnft.ciiTnifl. i I
Moment • ttwmelv. mchcmomitv- pa <->\
Tiolcmon. (tvAptom. banlslomof. h.wi
(ion • wognoton • fimtmin. 3 wini • ein S>
nt.imii. nawtnay. fegnobt- aoniav.l» _X f
to;. gvhant. mmugnf- (aphtrntnv. (X
pbarn«-. nniiclffsgtr. (snemabr. tip
ntiibt. ftmaht • leniaht • gtitobiitittef. r+
- p.tnttetm • pulrtłinf. byh'foti. vfyon Ö I
’ vliftof- TX.no rei-byitn-timt. btintytiot.1 Itei
\ 'CeftmuHmv noftpij amcmiernofteri
•
'
:
" fcatlimi ftaih mfpnałwiw i tftenui; qiu . ~y
(bins abtiffintitf cfticwiitti-wic wftneifio
mac a ittli'cmi in» phxteiiMiiÄ fiiciittl'YJ “T\
nt In .tins «(Sowim Ktteai atqiimniw w t Tl
n gflia magnificrpmO tu,e m maiftfli '
.mnic itndlcr. pnu^firfcMintAiefts!
\\ttfime 4 denara £ (reeled n fVägtJa *■£-
; y/diaglöSyiinp.itapJtätcSataaaE/cclcfti-^Cx
r^/iti mrcttu ietui-nioncanvilnitufi ivnwito »X
Snt£ • bic tjlteftO A (file ntnrt-nAlliiiil •
(ifijifl 1xJv fluef. jeftrnm-lshvattiam.tto
‘ten. flvwh
*. inewten.meoetefl imnimuit': '
hr-ftlniar. Ibnonl.tpl.mojair «thi
leb.tatn-.ciirAtlof.lianiatyld. J,a ( ,
wffttatorgaoncl.gotten.(MmeH. .
cni’tof. fiwnavM. ßilylantton- griiiifeiji.
atfcf. gsdiniiagar. nielaf.ivmitp rtwrf
Wcnmi.tmicGi. tohib. Jeronv. Mteyef. > -x '
•teivmcgntef. isttayf.mctomayn.ntpta.Tottor.
Veiten • i^otvlmi • gtnmivhnhvTewnuiv. Inmc
v<m. ;elcl»m;-t«nvniam. ebene-ttonflritm.nchi z-,/
Ilfi.lxlkOiW. nofrrtvn. tetbui'-ÖnuMto-taft t
-evnay. wnttef. incfiVten. letW.m&Ay.hfifl I
■Hmi. Iiedvivmi-bAtlrtnof. Mßvjiniai'.
finwiitomca.fiikiiwnipic.tkximaetauqiuinT,..?
vcaraiti.iiutifim mt i nile cue.(erica nmim« „7
inc- a mi in iwtnte <f fte -.iglio nuo mbnifti. ańi i
i fiuta ? nie (ilpät a ftun qnfi nawiitmfti «miitiaA \ 1—.
men An obetnetm nbi. ttfinic ergo th wie amsnitf l[
i fta? 'ngrcfttuoettrAfrietqniltemÄrmc <ift'fi»rnl > uz
,jJ,Kllcau;meii 43wipffta papteitna.O firoia afimsi L___ _
fTtarffainc to>lci”ichOTc£ftró ftfiKttfmvdÄiqnnfa!» '\
■ USefliuao (einem mii nńcftepr.ut rc'f’mccteJV.'itaf,
<X rCtewra; wnM intycas fcCu -rGipta m tai ibnaÄ'/
Sq a \ '/q’räflwummiruil q'fpftr WiÄi ifttsfrfbijun/ -er1
V XjxbiciifiwuW fignm artgitiief’btJejtMtVWhiimnBj
V XXtegnn; (hi caictnltii hueillue rez"\/q3
✓X I \S<C',SäÄ:xVl’h*j»Vz I I
Fourth Nota of Rhetoric - f. 21.
//
cuius Marnier mirat ptibnft tsgtuir prcftas. c2ni offtlnio nft <n fim itu
•fi5icm A3i-.nngma aflmihtuwicmi-ftrmnftt.tjantidn bin1>ntu
(aäni (Wteteunw me üpiitfl fiwulta« fticnnc innen.
:erflwni wrimn ■mfiyqto’w. -wteni .■iie’d iJteri . ietax i« o nolnta '
now q> 43 ta <y piflit total «yUCIi et m-Wtev itSinei'I;
pftcv.i mtaligcnaii nicöm et fittütal IO hiiwi ftö; iirnfl
iccrei« qnc efr (?t*a quc. jptrvtt niotni loqrai ornqtc a flotte
.1 q dimer fitb ft Run mno an® n emit tt n (Tc füeriit a pitra
tt Ata' ycrmtgeliTtefi (Min er«.“* qastn ffltwrtiflW i
* qnm>r tymv • itr popstta? cnnip> fli qlifejtomis ovna"
te^ffÄw. fnpiwtcv ■otCci'rvlctiin.-. uvmuTcuW-’ate^
itiaö RüS qna« pifWftfcttw «1 «rmaiiöttii <i wnń sifi'
n«)tonr-C.u>nc'T>»ać fl bii«i pfteiopiiW «ijłflnitó flmf
itwiiaigtoGl 0ijnr aotciatnt npte gfo-ninpit riota
atm: qivvtnoi-.trnsretnSitc Tc. ;iapc« atotebia fld{ •
wu rt omitumiowi tc^w-i oibj ftuiwnd tnttnnnmW
> tt-kcruetS.-tpfci. (tan nań tinoy mvcotncTteOfcuulipi
<? nvis acqrevc pfttre a fine iihqiw wbuHwtac .-i gerne
ntcinovtc mtenwtie.
. '"■'. ' li
3ftiö eit mrcnW0-i atrentatsü i ancie faenonm •
, q> tttü niiftanl wm nnws et effiaitw ißnis ftiflmic
f opaaois oflfttt toiifib; frcvqiuw noüw «tiicmntwnft
(trim arutaeni ta vim tfiipms ft®1'” nfU&ń-ęti
invtutt flgwswft aftfnäJKivft <P i iic&W a neiqtifl
ftCeangte» xi aiiciiiritertaite.fixetfite.aiiiittapiV
mifftonc « nivtntc an et ftömn migefotniaiifl-to11'
migK intent iflni gnftj aw qin ew awntt rov n nuS
ct omet> fenfiw opantift inmeft aevnotte w>w gnii fiif
I Ipiis *i Imi'ti iwgtt .wmnnftinaS ilntńr a ixplcntnv
lit pew iftafl «pits räffhuuiyrnar’twcflwB. Jte fip|
L cd- q> iftc circs iquibi flit noiit Itenn anfftlou ignotn !o
Unmom fignns •? fijmiS «num tcldtc anitflb (taint!
1 .liw pu’imgclui fiilćm apftntate (Tin- <7 iwdüxslsftä
i qnc mw iiipflitc flit iifte>imqi pfiuttflores Wonie*
ap>l»i>t) tntnffam fiuinit nhqiut wtó given tobmI
! WtaM q pin ovctbi ■oittbatuv fbrtinii iirmmoivin ■
gräi incitiltt rtpiib tai tlhqSptal' qni rant fiiaittifiVl’
' opiisataptirct igwsi.mitgnoittnnA apt*.; ;
i: |ti farm»eft q. fi< pmiftin fine ab ainflV’cvcarclt «i-.io
linepminttni-d fpalrterfc Win .ipatcwplibialna-; .
fić ipolonto-pttvtoineo ennvjiho aniftniigint rnahjf
final iipgregniccw noimte-niucrain» cw noiiw
nobicou tiretetawt eie «(ńnKireięnr nolntntibne-
f- coiw-nr (Wltac cop ii^ivetidiite ofSnintVeieß
, ,: »Tifina aniftnaai-qaoiiflliif oginiufiinift. . onint
>nn iipnwi ■ a?nlto eti ftmi? eft a-etaitai fl
flint fir AKO out no??mw nonimci ’
j ćtrram« (Miami angelw fr.oo netoafnoTaeonnn
di tents opibue diamfiftfia m winw-toflitdte.fi*1.
«1 fix-«/omiAtviin HgcnW-nt Cta-.nite
ftä opaaonc <3 tobenm ftihi two - temu mtm-rnretq
i niWimt a iHtenit gtonofln «tenino’.wn.iicrtijvi’l
| tatpi’Stngtwnr, afinviu mgeioiiiin qvftcn few
' a Ctpiilm • qB’tiani i «»iihberjfr raltó gväc itcqtenjif.
‘ tatm a cite ftnjHo? fine pa® tqwTt. t
f
/
4e Icjcnte ilifliwa legeö
ßn^mxtilted-
290
 Ars Notoria

1fhanontaoncniami alia (cetućti -profenw gngco ftitrefignramphilitc. ■

mtngiui? ł»iH--iitftntiovA ■Tjaime.i <-.tdK^nnniiicoiiiftdeta uh
ćusfiinxrm? nanfiWrti.tfrey-p.W- ttleinmlW-klwwiel te <t pmitu? «tmgw c-t mc pcntwnc tama T fhńń onaOn-L,
wmtr. khminrlnf. tevegr.nniia.vnio? ■ jw fimoilTtniw .Hijrehf
ttioficini fift.aiidwlxl.TOcrnaiMWi.vapbnKlftiTini® tq.reua SWcCmi maicflarantuim m qm te trtiWrewme-rerns ans mSicn.
wyia. nratne tcrapi'wi.jriipb.i. ■ninfBi’. dtnibfcn ■ Salo - nwwf.
aclcmvtiwr. jnapabanv. e.unvantf. gtariTniw. ■ .iminnnp.lo \ „„»(?« tW‘ł’ftMT 3n<K8 q*mn« ntliwucmA Ifttno fi.yirc aiW
nvtteefiv. iofit|Trv. gaum nartjm • tflhamaw. lomvi-br. jeałnnhifi'.
ftiemannfi.. firremanai • imlotlMnr. Momvbt.1nilo.nnM’ ■ enlcm * ’ - ymc>'"lfllft a <t»o prewt cmć <r ton» ć mifcncor&iflme
vbt- IxnlontinvH fwnmMiay. geoebsm^r • plcnv.<;v fhenae <n*VTOmmmc wwnrc renę? mego er ęnao.1 Cmm firiio a iptc
»»"i.FCfc m.efn prór. n O(U
cbembvn. |hnvl >*n • W fiqplinttv ngamtia. & tc ełfii «2 jsv ome? nnd’i miRnretffwmtnjnn-iir prem gGo.iv w frntc q,nani« es
Gniaos anjdc i mw gliefts gucru nfu awo .ifaw (Ur «pic n nobis efiAt mrtnW nu temgną mmc ejpCUl.mt amrelhęmS
ptbfem non rcbmt gne fiit lec ■ rslel ■ wind ■ wpńno . atbón. hrl. nw niqm cS wn? rnmis n-vmif amen-
«yfafo.atp'm*»-1W"ien. etmegon. pinvicW- cvnugran.
ncof • n«L>5CT. fofilel. Ijnagon. ę-.łvtońa. indnon. mc run»,,
nic^ .n. bn>>l«r. Ćranbimc nic n nimi mc iopcic ifto iimero- amen-
hu -fitaiW mwiwllnm <i piftca legw itam mnaoncn.
•FMcIbyńc nn ifiininiiaamlhenannmatmtytenioitliirniniotm
cr dlnlha crećftuiii mttlltcnini mai owić limunima fimotnifinuti
.mm mcn-ntauPicnva mtoui n.tnotm mcmoitct* truci-
icfin-nwsae wi-nteit. mftniLi pik Iłurmnincń plam pnlfimc mmurd
ima; rempe tcmgmffimc Imgiummc.ir.pti gHca-Ticffiibiliflnoiaiid ”
tu qiu c? firn«' toittn? «7 tcrui? picem? mgc (mira? me pfiacaa inic
anicmóim tonm na mitbi. a <r ant pea; ftfta fci oinncnc largirc ni
"Cn gin pmmnf firm» nó unncio- fi ot pńwm nnlhtiif cyptctao-
Tnibiiffl- llłnćfrfigmn nme phifire gmnn -^nioin finac? nipm.ivi<
iwirejmutacine .itiawifl menflo gmngines m igrwe fiiiiiónuine ftintł
m^ibiaRmeT aranojuimffniramik^SoJSrel
etgv.-it.«- l-0t-.->. vn'tci.n:r (iKonwMSjpt jmjmeo a Kę iwnśncpfr ?■>■«
mcnRni gpn-.itłon iWKfjme i >p: <» imo ptnlire niaaÓlHmf n£ «foó
mapie - ^<re »trfigm« eniaSióiiTOimtmo ■ o- F. —■ ■

'Viibrirt ąftnć fiyiini ■iin'i nm&e gnani ftgnnim mfjnacogiiilhterme

’■onme TOOrtftgunumtf <r OTWtoncoflu?rgn-ioó yrofeuw'gnmgćć <r ,?<
thru o Anie io?an«ne figinc'pin Are prerepnanSt-oi’tnnnaoncn. oyoiria-S
gńnńe mejonii jto.gntmtiyic <-<xe re tęfięni?gmnw hb-lhl<iil>- nc.

kv< ównJ*j5;
*

a. First Nota of Physic [Medicine], B. Nota of Music - f. 21 v.

291
 Ars Notoria

iftftcinno biSpeofrlHmv itnte ÄnBHfigmvm >)fhr>n<mi)c

p^»rtei8-<7<numii«1ńnłnm<rt-»raatM--w7amfih»t«ntoni f&(
mfftnt a tmnfia K-ok.tt pxzfcr.’n-.B aWm < «n tmhatcm ■
•ncwq lörsfttatem meso« w fab/hnc a. ttämA tnc wtómfcm
mtm łtornu am trnqfaatn me a m»dn genaarn omm nm* forme
; ir.rngmtct -mfyntCuame tirgwejrKwe- nSeßmnhmmnl jxamxt
>r.CMinn rrfpiome t- mtdn « *£an> tmc& agmrm w& rmriiigrnv.
<t nxmomr trnncnw mt tmfirmi-a dfirmt mcü di svä nta ftnfiU
’UPS a«mwai-<fin:'»n bk vifitruw (pfts tmaiut a c? enormem.
adA iü qwnarmiraw ptnUbt^tl ui:oi*p»Mac «xeTdirünlis pwnf
ätoiot ąuamłnapa akr, qurtam avait «ototfh i«äi fóMama
«aa miftnorpnni? «ftmwt-qtu toiffli yrna. ao «>-uu »rifhwnn
faam airaUnn ttnoave wgrABWco-on ttmmm ftthjn« fcoäi« ftwl
r3n« amttUaw jWWtf-Ch tnä amf (tnfhs a ftpwntu cfl-stó^ote
a6« ulq: Minen -< mtpmcis 0nucr mmaetnnaiajrnavi•«»&•- ;«•
met fćr.fiti mat ffaitre imetcfhtaAO-tic- jp ivsgnwfavramUr m
cSm« ep-.lnw nns rntfoW m W qtie St&rtv fhbtüte «ftaqrerplh
<aus<i fitósus «rrpiio‘5 fepept«; pur.« cübi afyüonmat htgttmt ■
.aStiar w pn&ir.a « etocp-rcc -i awra i/hsr•« ftm (Wtffinw $rt
-pniumr a ix-jrat tnnuS <• vmw .-nnen.
pftßim mero äliqiio inreruallo
Ihrem ufcr ntlpiń a ł»friftt)i»fiKw »ttcviuillo niflnnrtmr qnaitil
fioimi.-iftciBnmca^nnninaiiini RE^bto ptvftiqiir’r
-^fbl Jinno bi? mvftrtWii- a»« «pimut figiiwni 4ftn»noimc.
Tfoötw ton-' B&: KU« pMtroiiim qm «riefe* fetvsst feil tme
a tti-w.««» ofcttnäJ-«•mfWfa^fuXBx a mw&attmtum
no ut krat mcowqfnay» aę«c*msun*ar« <*««-
~k.r.v,n-'t^^«antnM-ftwi0intM awwtnnnepoanntemet'
, «w.tftamató m« lanftecni-ftkfhm «Muni ruileft-
dttcfvtneaDttvWmaie mictt^mdMMrmimcw-ingettn
sw« tomuswsa e^aummatmema-atcgOĄmlM^»^
ip»nttnn «st«» <wpu« a ar<-m mcmi i mama ww c* crncuia»
.litt? miĄ ccuonwis-<rne tne 4 et tbuunn m■chcrnn
0 wftncöroarawam tmaam mme-ättxMttttV iwmcBjm»ns
m bw «knwnnffimc Wt» fä mts-mtne tmtw eff etna- <m »w«
f&fyicftmamffafBnka-Cufvemt d-nittie-anu9T(D(?änt
für ah aren-^-afytrA a rttfiM mme-mi.üt M\dnt«ftr
inttm ctq1 ib.'c Lniji» tonnt witt pftMlo tnuto anwte ■& m
bu <mń9 pdau Bi^mCtaone WHtrU amtpkämr. we nn« me
n^mni-fimAmcraanmm-'tt^tmtmfiaefntactMmme form
tnfvnm 'imSgc-ntlpßaKwimeiwmat *:wgnct ^imfrvermZ
■; 7fti cfr qńtn figura -.ifhöitonite q«c fhmtn pfrqmntn» afer
mrpićffflaO<4>Ń>j>>i« mttnüiUo-

®’,‘dl-rvKp- Mr-Wm- l ACcfwR

mtfar-itew, coVnmor KfaMl*■-,
<xrtnb»f. iKiurfp tonarrp- Mietvp-
mautwivm. namhd. Wtom- (JmcrnJw-1*1«..
^IjäCrtmsf phrtqjtom toncmd. Un«^r-Un^d-
utahtp- «fetömc. «irtm«. $yn«yaiW.i- kennt
,bu5rr<w»- irtohwto- viKkiat p.m^tr.kMgń--
,A1niA"B ■ !<«*wn ■ tcwhtói ■ Wnton «t
’2£??r <aw* • puM . smcW» -itttet
,!9ftabt- ««hote-^ttals. tonłon- fiiray
’"****■
I' ÜU9qm mistaMom« fitainm &tas inimcnw ertevt.«m pMmam«
warn atamvnwm amfpmo tantutn wem firjnv-cr awmm
Mmli iiasRwon« perqmtm a wOtgat "tnCamtn-utattim»
miVUimr ..iü itrom/

iK-noumi uitvs per». „

V i^-piiWMn^pwrumfftncifl ..fittuwiTm fivnnrtn, /
^V^xf»fco*ni q apTtmffis fiftmiby a fiitmas nOemi
IjK ßmewm Tonum pfta imdn vrii qm
omiA tmtKvnse am«e M<r fy{ mret-
« n» csv hme tnuetwne änno ttbt. <r »fnar <n3ni m «itftaa. uiifimi <i dfpKi.ie funirnm «r I? 4

ti i^wgawgmiin a.vmm3mcn. „. /«Mwima? • ^ «mjuuiy. Jcjqttoam.

ihlcftq»AVW
w™— fi®iun tiftlppoimt qi
qnc ix>R-mrtlthrn> nfumo Cj'&®a*nwt• tmvybim. ;ctHn« Mnunay
«Mio fhintxbetmtyin. oniaocme b<e wirr men.. 1’atantnri-Mnum^. marttrjMnMtfrmw tapoa- fcrfatiav
ewtoQ Ic'Bmfrtn- ptohenof ndBtprttf ürmav Jerort^f. famay
(3ly»Xl- bo<biton. nwgonyfU ■ nactyto ■ mtavntfht ■ HntcHcbamrn-
•nc C->na>. p/tta qm ornia nnO W er mtoräs ma
te y.<tw Fiflime ¥« ßoHnffnna wmnna cnwwvfi anj^toi ühioi'.i ittm
us a «meuoas Cionm a Vttnnm ßunnam Imma nme a ivontas ta>
nftmiMamictn nwnwie aX>avasc, mxSkaut q tamr, (tryauKärü fn&ic
takaMit-- qien-.iKKP. qnetupacy eint «iu> <*iiicr<tw> rani

«plc“
tlM _-
msuäs
MO»-'
Jftiłe
j (Hu
tiojincimie
Pfrjjms

»trituBo fłs
♦f^Ohn
•i »«»iw
««s biß
V»nfth-

a. Third Nota of Astronomy; b. Fourth Nota of Astronomy; c. Fifth Nota of Astronomy;

d. Sixth Nota of Astronomy - f. 22.

292
 Ars Notoria

ifol orarutw proFvi gnqnicP antc ytmi figinn ^cneralinm-

r3flrtamcuy>fcmr sntrfam ftjutuni gviiahinn-
tfwmer •pbnm.mcf. fOTilef- fttatitmi -ncdnivobt-bri
mttbr. fiimqkf wtrtn- phmntnibef’ (oirtwmc hodvw
ttwm fcmtlihif vtax» gtnetb-w-mi. guoh.lavbam-
‘>rltoni,tm. apis re* m msnstltf reftinwnuu nefhnm -a m
Oitaru neftn n mtriw. r.cftrr-«Iums jnapmuG tfecnHi ftrnh
CLiulóhłS Jnfirmu'' <5 mctmim orie ariäre mcnn mt« er ma!
lectw nuo -fei- btt •■Kv.mwma ptrwfa nm <it lm(“ «ms ctfüqtut
batami atqi mrtutm gietrn «t nnfcrtrertaa: ftftitutacm.- me 'c
sevxmfüiacmä tue imrin m.imftftiflimc vaiclke per mgitifitr
aam mtwa-.ins BK qnc doi.itl cft fiiprałrf ^-t prCmr.n m»;
rmgrtaitm -i aretemędenm nwnts ymiapnmu; qpiribitmn
er ml«»» atmq: ctfcOm: wminim <ea-mtnt£ ®fih> an m^w.-
ftgtttaqerijvw
Ceetrrne tsuemarcro»fcrenn-omm«5icwmmi ßiqrü
tonantm tu mftruc mtjpnv turnten rtnrttnn num>
ct per 1x< nmcct m» Uanrnmci d.utfun mernrm mtam
«• rntvcr {äcnaa nia nittvurm mea finit aqua ffe Serie«
frrut detttn in ofiibne mM prr re reu» (hhiatitrcinm qm t» find
trnncin? ettotne getane enge tnftruc me boote m tfits Run
cuS qiuu» tepoßo nt qme» mm» tau xmat-
3fhti Frt figtitn «vnetiftmy^ine ptft- piiim txgnr.im actarftnti
■nirpiri bacreini niujuö pno uirei-uflllo.inter ei» - ’

gmlWta A» wrićnhiMirJiafmitm ~q
SKTWfe nmSir.Wä07rKtx5g^

iw itur nenitci-

i Z/filvn- tiunorine rtinm- \\ ♦

//nmdna .-tt>mwv almn. tcu \ ' J
»frnu-m.wof- bmOa uWnt\^
//inter- m.iMm arnwtam V
/fintMtatfa . tvMmmof- pmtn'fcftmw.'
/pteoigtni»- grmabt- metar: hmtvp- Ttbrt
I dnu thrnnrn- fad® hnteBM
Tacte
rtvfrwn-bißdr ®\\ /{/', -«mim-htm-nw

alwI-iKleme feten-.<>wn-w
gethethaSm- Cmanar. fmu,
vertrf. iMgameu-hniinwv-icgrmm/
. ^nerartm lutninn- ww® irtmwj
\\rtqlu reftqnwstm neftrum er, /\
\? nie jntaao neftr.t zj mesrt//
X? tut nofter. .-rforta^/ owcioaitw ptrinnnaSvr ai'i’tt tóflmSąnniwi
ajK.}'/ «cncrMinin-1
cnqfmrnft -iqiiCpoxatt dq-temte anrnttmetrion
ylCTfllnhscłctcicoiftsntńWTncWłpLto-iwftćtutn^it
fcro.-.rotłK* m aim qf ate jsw- reo» imrfx Irena» fithtrnnrnu
/ <r mttlleetü mtitm inciLi m mit J~y :ttaiŁnnK?icitttqa«iu>i3nia?«8mitWfttinitu4Ł Vermiet
/ , crlwilnu44titöquc6>rer«de»ßft \\ ! tnnan eM* refcfce a ntrvtSuh iir q-orae wptro a ereremewwe m
//«cflfia ® EptrnumeCr fiqtrctrnemcr. \\‘J i im taaenue hear feamatrnt i~ *" ‘ ’
/, a iuißnreiw mewa? ftoenat ervvpmiJj nret\ V W*?faj_ęna«rn£rałmq
/ /a-invijuqui ibudici«: c rannte ctlmn ntcrtm
, 'futttfti ft hnc iw fimthnwnum crrttugini tw
' wtfh ifimreotic mine dmttnS meImnen crem'
. frna mretkcwm nKńnrfiteuttócr,
riVncatuS m rttiJ ma oilwarn iwmcK
|mü «r cBgncfceri utrniremnum er
rnüginfKCUTuiir. aü craretxmte cm«!
Ihjstm cnś* ftnp «Wv JhuP intig-
\«t-fiiaW«vAn(Fi mc-s umorurn »p«
frurtuj ao nujs
lautem nmmqi tvnmvm-qni rinw <tvtfnrw / / dtta-dtt-<tehnn.btt-\
\ vntu «t fhnptr m fcuU ftottontm amen- /7 ateht -łxk(M -7etbrt- \
-pnetebt- äii.miA grml
,rt- tatet »ijM
, lectnrer Mfirm- m»/.
\\ btf rt*rm-mjzz<

Imar- - Tbänof-
\nvirtv-rapt«- IL'rtc’
(Atnaeto1/
\\m6a<>m.tn

ftrta rne »w m«
lepcvUma txust-itr
\tv-wtn» tmutmr <
\\yetun: pflwi »»*
i \\tsnx amen-

a. First General Nota; b. Second General Nota; c. Third General Nota - f. 22v.

293
 Ars Notoria

oinn« ann rtludtribna (ccpnbygtiqnieilyfci'rir
nno mrtQanirt mnnbijie cterne tow ctcvnicrmfihi .angcluf oiCFfi
tvrouununtntum ctromp-Hitm* iuerfiniiro-. avhmin bernem
nUiFcmum mom er nmhiplici m me ntaonein TnSvntn <vpm®1
qnj myrefivenW noibii« cclcftuimigrtorii' mi« ewitturtf CCTitnhfh -
crcmitcm (ticnaani fcarafi prsmOlonc Tumn midn «.metis ct onm
I-»mu« arnfi mfotnenem .nncn.
Ifh’ioinno line mrcnulllo yofrixtrttspiofxv.vur-
(yen oiinn preftanmi anpixpnonn -xniinnoiirm ciei'in nm
fpnanrtnc wnfpicunrt ciiim iromnnfhanrt frma Impuarimi
inanu« icpmrme nnllnm rniywmncnni' cnlns mftmiroqro
•.TOmcnici'.ici ctiqxnm cwmain imjiirnn’mMm ar■mfcvnicmni
aodwincnciim tro mrtranwrm ctao bnxnt ca que m bar aitt net
cvrntvta dticTOiitw tvmcuwf cc (me pfetre nymplc.Tnnn «yncn-
~5fhl mae frtctopiionitti-itflllO’
ekcbiflf nctojwfmehim.^iim»». rnrudo -l»tcwf- Pip
urtbt .wnai;. »:o. womwlvf. yevnottof- bvdwv
^cmMton. fiiwbcr ■ (jt tu tow jpinno m me punnf
fioncc turn ctmfinnA fiqir confirm.lib pn eofam fmonc#Kp»ftl«i y
simittt imdn ymc nniutcni is «sli? qnc an-men; q metsm mam
_______ .. ....iKt eftrnfem toio nnytlcttn incii er niinmn men;
iBm^,
A frw.' < lebitounnw aqnwqne fiq» criof (itt-<Kcftux «(pit
S tuo fiipxcBtmc meant n nnufcribiwmcirt ao fiutman nmntHtnmn
j CtmamctWA mwis ttui- IrnihtntS «santant qnflcdmrtteinmi fin
I fh «tvinsm nV vm.ignicm a (hmtmibmc tuam cwrtlh etftmnifti r
mfimadavinttWtuc Inmcn-nitsllettinmco nt fhnbanwn nwictt
j imifi-ii®rtnnnirt wligam nimicn nui H«giwaam .-. .aunsTC-cct
j nitellicCTmemea fi«pmr.ii’tftn»«tw-cVqiwmltcTOti mfipmci
ft iw rnr-Ctcim<1ii F1' maw Hmm anstlctmn (i* iftnmm fipi
innmi nn(teru<Aiw«miaTntc(lanum«<t*®vSemet><timctcmei
; tMteimnapnmZnm-tetbimwnrnanftmtst- effort brttairn now nit
{inten a gticfliUhm conftiw •piwlcnte- «men ■
j Tn tnnot jftflefflfignv .■nm«twmgai7tn<m«an,yfrrnfiy
( no-ne -^me flame tefamc «yniymec profcwi «7 »M fey11 vnS1..
k cm« fifflirt Tnfeici ft yeff- tn^xenone flgmv fpi-rcbcnr iiownrt
( invio enrunq iirnuiti« mfafi bnr n >Thic wirtnt Icgrntvir
) alicinaa ycnxtnke fnteTcgs*. )

_ /cm«, jmnmn. Kimrtt \\

-lYibvmv-ic \ fbpnnn angticritmnay- frmvnnon■ fiilrvmthnu \
'Krtxmen- l»n fl qnfti« retuhe ftvnxn «• mcclnr. xnamaT-JwamarA
nit ai nmona TOuxiJe . h.. I™. ™0"^;
7» I toJttftnwrot • zemof- rovtvn*» fbrt
xtxmr ptvfcn-t er tn L,j>town. Ml«mn;Mh>n. le.lly-
fi' rnreriirtltn vnret- \ i (jnwplimm M/anwjiithm. Rg, -
Worn -n Au- XX^- M.nMmatltm. nnik^
i-yqamale.piRocwsv l»b>nW.
.bifedniv- =..lma<bnvin. ir>r
Xjabav. <rs one tonV'
bm.w :jnmi-f.n
nft Mnuteiofcn
■on • oartulrmiim-
.* imWwft,
f>rt<n email
w <y amnififti tn \
// Mums. & 3cdvph!tlvn.lS!c
/toviM- fsmaj h'C anfljrcmamm
■ fimnnsy. fenml ■ grcttinlilumi.'lMtlunnit+im
bna.l.|xl®.'.B.rjbV | ternmu)- larebam.<fr»«h»;o
I nay • trnsh. fora. lima ■ w
w- Itofty. filiifay•/ ^x\niothm- jentoLii. fi-mvl
nan jefcbr me,-' A-av Ivl'iav.. ftnVih

th>m.

X. „ initttinv..- /'
v: •'
an, nrtwy -S>yhii\
fcguoht. \
' . ‘fiipbmb.n'-t'a ;clo|)
\bsi-. bam rm. gtv,'
\te • trnna- gun /
.JwntCTnvil.
z- 'x
/Of-«tha. fomi
oC- batav-nnte
ra- i'.iuannyr. J
Rtmnai’r. (Wnra.-.''
dnmi.ltiof. fimv.
s^TOqual. ■/
/mcnul renicmornbiha
hriteccfrubt • tcmoiitfv
- ,'ttv Onidfkrv- I'rtnrtti ,-
ichrr- nvlvne^tnor. nets.
If»« • bmelwW-ftl v 'j
Mr.imbal. XdWi»m-~’/
ar. mcnaniv .
itWgt. baKl'rtniR ?
(.IcWm bnmtttfiay bif
ro- n mbamay. lensmnr A
fimtna-lcdcalm. _rtm nyftsncmof- le^uo.tf^.
, n.i- pilar. hyrtnbrtyr VeVvtl- biflrmbt
\\inal. dnm.irivr- 7 viw. 1(1WAa
noylvC- Jeanie 7
>(■• Jeion-o 7/
tf»n.

:/ Rmabavr. \
CUMffU-ttH?- j Z
IcmoraMI. '
MsftkhXt '

. M^hA.ukId- A mtnifrn- ivimi/juriba. on -iA\X

| Stt»uMvn>QUi A ’/erronfiniw inc- titapnmM u m \\
I tot. GiguoT'm/i i lT*^———jk .
vnoumufr- 4 “ — /«tUipani ct wltxnsi tc&ami «emeAA
\ ivnfli-^’% ’?lf alfauAtfflpw/h mtxim mtrnc-q ttffoifim. ■lipnjyir I
cnu?. rtWTOit elftit« tttjftiinn ri« mtc
Aslioiai’.'tetxnar. pmicmnw. Lain ? I
«Ohi- yajamyb1' ,icrt>-ocb®'.Ic /
tlvksty. sow i- i>''>«nai mTm turi
nttl .1 yri, :nu,'n*.*: mt /
>mi n. rn oft in canrve. /
r«n.i#on»r"m«Hv/ ,
cry mfilh ni«U> cmSwmfh
th omc. > -

Second Nota of Rhetoric - f. 23. [See page 92.]

294
 Ars Notoria

onwo cii AltA fcaucnti fftipw nifiu figura pyofcvat cpigiueo auro figm-am teraam itctottee *.>
Kio emm ą.tta włcrtwme ifiKnim ma inagiw mnnbili eti
cfftbili.<óc mlns imcbi faeiicimn gu.iiii pn-Ux opus Nitami*
jolicwioc® faitainuęaiiwcnmn^wflbtlcin uiitntó tustm •
tkon - liatb.wiiigibon ■ bmnrntam. cmmirmn.crtn.'C • ledynA
mcvvl Nirybonfldw. 9cdvm»Sel- icŁiniago" nnuolbhot-fCne
wUfc.iv. imviontolartun banńhmeC mlomon«l»iv. bmoiw -jepi
biilr. per Ito finanffinia w er gfcoflifT'mn n pi*fifosi imftniact
fri; tfiffinw cffiow invntre er (Mm 11150 i mc .7 nńnpie flf'mcrpifłi •
ctiliftnruq'oftaiwftt 111mc-Icmatsir. itnornniibrgi-er.ntnvl
f.immnt+"im • Icdwrnaiai1- fuDiinitń altuTmic ońii l»mtntii-7ftvr<
atrp mvnini tribuc finnulotuo nbi otCpIicennii tntnitajnnigia.Gt.
nta ncnwc pum «•nttsnaoncftnm yifTnn tecUn-ur ni.tm pro
wdioncui two on-« tefinmno m omibno Ctcnnio ram i t<*$itae
giMmlatnrrtltimo piwync yertec (anctn tntftevui «nearer «S’
ttoftnr- iiNpruS'i fiiwtns-Cżrficnitlłn .nic onć yrmtito cffimir
innoctbiiui «rfiiawno. amen-
Trutnini ~}lło i tcmaligMra ^‘figitctortot gue palt mffB&
ft fipcure ciitn fflmwtńiprimo -otter ifrttt cr yolb iftnrn ft5 puc
mreriuillomfpiaatur giiarm figura oim jhig figmo cninonća
cmmtitrnni.ppric fiiptH folitte figmnm gnginał ptwfeiuńtnr-

^.-rwwe '
rtof. mi^ub'gcrfB.'x \
• nhl- vntif baneno meęnb.il- lia(<tmi’di.r*.
^ZtW- "t'fvon- lofilxl. them, bmcmoć fćphottjf-VclvotW.,
- z/irrno!i’tłvf. di.itn.lftl. fcnav femn-incw. b.walTiimcbt-
/ ki- remap. ippW. cfcauW- ittannof fcaielA. lamald.- 1tcnnrt\
/aadniof. hsfpinvr. gtiPloC- Irvgi ckbof. fmwii’1«o titof. Iwflmbr-
bel - bay. bmanar. incgibcr finm.iinu wic illnogwirnwigulau:
;ftof. Imtb.im.iimfvbel. nyebev. b>itnb. pbwpaiWi.utieftita'k'mftmsitnkmX X
lny. fplciKsr.p.ttane głw pnffime -i gł _ onń pthinioinc (hć nmw amen • honi'
ortoiWTime n uffiibih0• nnigumn: vlnt qj- vtmluo.ko- wnnf- cohiba • rsroiv icfR -
meffraf ncpto fpitenit.pp^-tipiam g ftfhj aęaof-oflsor- vlnrwf. batmiatbor-n-nnio V
/■piła mirln f-nonto crclocpićamn iitntlar onńptcnf icómumlnlto cpt-pnaltó ftetu«.cni
'ijwntc nroiure iicinatcvoiiigtwAOtccroire cnvmncl-bmovii in.ncłhw angulnrtó-taitl
/ fticultttt jJtmct liibitoyoffintcipiteittnanfib 1 ntof- dwntle ■ h>;o(K .(xnvptt.ti'bodev. cłu
iwlca jęattc ntnnmicnmeant 3«<rnvrCvpi nfcoiolobt. itreptfo. tłnrelsn. Cvnanwlvn.
enteo ..irnntibiwtotcs ‘tapiic.iwo PilheaSf -anAv. aamiir • frtfliun"’.; • ftnono-nchodno-
tan lunainbikpfFn oynnete etitacofi a(R>r rbcy-b.-ięrercfajC enteric (ninityr.biYrtiaiM. 1
gcii0 tulem doefne psute nnmlhmii • apnn ® ciwiii. mcloi1. Aonafc. moi1 • ijyInbcl • pdjn
-ninie atman erm<kmen cr«rcbnitnemi’. 0|.navbanan. ymerbon. netvlvn. bacw.ib.ik;
■aibnfjfćctifi ccinhO.łit ipma ermnctioin -iQ^pixi paybrnef. Mbv.ifłv.p.ltłiindK.1ul
1 >ii|h trmtoim ncfknffimc n.ilmm rętmait bv>t(v- tncoitnm-.u. tntadc. nmłiatc n.ib.-łi-lc.
iaiftflteacioiJgmmnyacwonMfcrpPlJim .. — hedunef-- rofrabr.- tobą -iiannbo.pbryna.
* fco, pbrprta* ■' /
coat qne vaocmvtta fiir mentora cmienM riwifo-hamba. MIciMthra.tymetem Ijmictein - / / /
\ w- wnonwccgmcWJwwtai pnlR. bjlematbmi. battanatter. n. tefedm-
icićdm- rdiy ctte //
.mc «imfcrtcotinfiiinc(,<111110 nnfert . ^cłw1. ixbIvfto■ icvi’• ?cgeloCe
icgtlok ■ piiatta-
pbmyC- /
______ ixvmon-
' cwOupłeiMcftttttW-ftmrftwiifti cdii teonitilon. _____(błon plpbcC- cctef.
on •. plidxC- rcteĆ /,
- • »-•
\Cttcvv.w fribthfh lic tmć prnania - Ennnr* —■-
(ćytwo- b.ilxmvi'lv • ix z
\ \>im tt mętami toimm i (henna ftbe. Iwycnobirni- Hoiigitobri
V ilia łmttw ctlłBbilui0ct (SV litr cr fplcnwr liłpieucic i t(n ipf
\ wento confirmed • gin fóltis 11 a licatc wv mcii et ftnnw iw*
'.nuto n vcgn.w pn.Tdóu > lite (henna pet* tv“
' Cti.wicn.bieftnflr .inien.lłiciirpicni

*
\nitq’ptu»mtsr font l Mi a ilrosrtę!
. —«JWiim. • I

rondu no

Third Nota of Rhetoric - f. 23v. [See page 92.]

295
 Ars Notoria

' <&f

Jlłiioninoyrefćnimf >imc figuuuiiyin.mi ilnfiiicua'.i
Cuo qm »ml* immeio upmrett: *i nicnflmt ftafh a quu/> inime
vc pmoac n mcnfliiil eine capu» Ivinimf refiatrnne dcunVi
eur- hi onus «itinc dum nicmtcnrovum Auf merma pnt®
efi ri rtpnta vtnicnfif.qni ä IbtaP fislfantm netnuu mimen«! et iw
imii.W menu mcc cmilłattref nibiic cfiicin>tiii Hrłłntr.isai-npa^m
neue re ciUgsm n tue pieruna ttuunis areiicftttn.'.wicn.
Jftn clb pfiiĆ figur,i mno awftncnie qne nrf ftlbar mmofigurao -~ł
iWijUjuv fi(jiun« m/piaao qitqMcr vie wrinunfip qiiqincbm
bit etci'.incnco muiiöirnmrpni’quicf qmtbteriiire "itn Änm ngvntmm
:<t niifptaqmjciBniw fauniinm rtairihfiffini Apnaphtfire •' muficc er
ZW^SgćwieTcFjćfigiy eiftivm figmnvm>
L
}ft« »h»O qnqmci’ pi&ftijtoif .Hire frifomn figutam m-lfnreftre
fuß iiiftiil mRv.cmtpjnmfl pater qm «ont noVif ftcifti fiUiitntvtiui er
Tewfirtni graniu >wcllafti mfhn.tm main rewlla auico rncM.*7 rar
um illiiftm Ifflucm iiifhart tua-iitmiwbih.1 arniki r.tm iriicffilftma
ftnnmrir.g<aytw -gustcniM pyęnn rnrreim ihqr.ntc nzrtfrqtiav .nrelliatn
qjm.iitrepiiifhmc qiil/cliU’miialnliaftnStnAffn.i ntnfqrure flibinwmrer
pref effia.tr. vt inert finümtnbe n memevtfi mtn ftubihtnre ttwrnn tumc
<otm vmtniam- a mrei-irffiä nictmiun itirtittum afeünmi ivncicm tc
m iHa l'derä amen.
V'Jftnrit finmtM fitnmi iiiritT nrilincrire gnepfrftyuam ftinic wb«-
Mifinet e.itcpi Umi ft corn nhqwnitctuiW i,
pivlarume CTSaontnn.

ß-
■^»rnpiF^ÄpAw
*bqbb.l ■ bafcbnr.
eincibi babrać. bnbrnntl. inbmcbrt- „ __
.wiedö.w. matunfi qjpvM? Imlnntalfl. biibvicm. gidpdwi. Jcgniiäfi®,
tclcjcef. mchan. ftrcTOtärem'Pain
i anbi. fiwnclc • fittti qiLm prcimflft un' Ixlamv- giclveton-Ibta. creaspitii.il. tbe?«imleh
cue ■ raguAhm. n»nm: ntrem ncfficncmm-ni v fi'jreIran, lebt • ctmipotcnp ftmpirenicttm?(U.
»5B. ••C’-cmctivf• Icrcn > fi;, pptsfiafl ah n iw \ rpite ■ (rcvibihp bnnnlti lerne rer memu n merem niemu
echif. lieben. WmoHvn. ctmMiSCtcmmqnew et mrelhgibilciii fite renfiicnnam mftmi et figna ivreic lumen ■
ßtMbot. ötmreiibjpicuißTO ,cifl (wt werter qmttwr wltiu« nu liipir mc.ut üiciuttus pfcmtrlh^cutcfflan'it ftnbilu’
mc in nmftcneS ntnfi. ofitnu. emmarar Ojwimi n «fjitn imitiiwinptine-ctemftrmiif abemibup cptbnPmcitiiioctab >
uiqiliciianifinmcnilnA cnüm ncmim citiciwmn.tiiqiii nfibnA^twnniTnccrń ur (Icpn-urttcmi in firipnmA mip. 0tmc\
rennn iniTncrtiOitpmraiPctftrti injtmciencßiwaß iicrbancpt wnvtoni nratc «rmcii cwaa finis firnen nu Imn ainfti-iUmniminie
rarer cif. mlhacctrnnmsfaciiins. mea ftic-tii wfcnifinm tUufiri ivnc iguc mfimaonwnic pivtcavlimitvamcqp antnile fbrnnimmo
chretcmcri. ctr,igiMm.il.Iwifium ■nmftrmqinc.wq'tncprreW tue er Uiaibmi «mfin-ci I flawy? tue -----------------
pnn$c
biM. r.iti'.lmatfvI.leCTIer.i. rcto artiß turiuni c revunicu:..jftq Sttnirn moim.<?tßftiw J' dnrihnm mit mid»i
mhirt. rivrvmi'cM- firnielencv. taf uar/i rtoiptfiav nreiiCitm f-m ins m mnni£Ctt?w (in ।
• • • nfimnn
nrfemev. tpiwfltof. - . *| ,tti itgn.tm ginne tue fciftlnhul cf mcciiwr efum <t Mr ptinna qi«‘W tefi«n
jyitov rfuiii Ävnvnni
illilnf. l'ArtwiafiUnti tbcnnnmeif-i rem. tow mmcntalw mrev n I In’ nu« qm «tnlipift «,m rcroifipnnr ct
bmicmrl vtrm« ah nun re gmn m ramprafenfiVilip qm regn,io . «rev awüt amfirmn *——~------------ J < ttmcwm.whm
ns <i efimi qne lets <iit b.tr. aw nifiificma ontia re cvcrc qua < rein namfutnran crucinntcracłmtem-meflleiisttn mttlhfncunmi
mu'-- b.mcstquhrinaSMd*. afiiw ireniiß fbiifiifimeoß ewernof •-i fiunuimn m tfln fiicnnn piv qiLs a® prcftt0UU>r».<Et t.:.
vfref. nm ei’- i'fiaittvf. iniumtns ImtrrtereS acwfwiw flipi;
,creß qntftticrref pn- tmiui» .rar Q ctcro qnct nnci’t fier TOmint «meebnp qm reu? nieiin
n< inifcrac fCiiiHnneńw-7e«1t mnnerne effeetn*. nrerew / efi n eins firm per nmm-
niet». ftyph«wn»r. tfiiof- a« ; fiwuw et mein vithtmf
Of. phAtvtbof-fiilothnn. IpiwtnfBin mlnuw oguj ’ ,\ hie i» nim; tnwi athime
yutowim • cenncircrc ‘ non« -tu qm eß iicv(W/
me WiJ reu» mens qnv reue cinifius m«v
nm arncit-
C>19 öpicnq.mtnlh l*ijcfiinfiqpi
cna.wi abctno.t
~L.”Äii«i
>mre imW’
um * j Iftiu
^''^’""‘Wi^djnxifiirattirS'rt fiäfinwi ftnna miinwtwe. T
. - r eftim cpnncumiu n cmj ncntnmp-nque enfia «tut nnfir
uni« n sinnt rema iinranim luna prererüt ■ «qw mit <yeit fcii / S crerei. WWn. bare ’
Vfh’"' 9,,,U’ f45‘w‘’totn*1 <ff « Ä WnWnif / nimef. ftnWMACf • InltlniA. gmtX
’,u'°t Pa ntfi mim mcPiii rencrentnirtn fitennnm rnesm ntrcfMl. hrfmr. leivnicgnl ■ lerere\
fawÄS« S”"* " Ä"’ ranÄ««'"> ł«- wrt. dvicm.tr. legvlcnf. Mulrl- hurreni,
".regn. fjnn/l. IvlaM- tslni<Vćii.p.inttof. \
eft’ ftfflntt giH]p artflitićtwcqtic p?ftiVin,rm figmntm fiirwpno mvrof. ncgtl. ;ebv. bqmnrtA^'lM.rtgi'er.ta ’
Hmnnfin-, phag-nr. . tirrei -Viren.
mreninlloTcKrewfiMa ctemnanefietnitpwftmi qtiqmw.r Ofiiyirnna ipmiimbilif. reuß traue pictnnp ct
«mif f.tpicnac a fiicnnc-TirmK* nic fine nnrtn iwuc
•tefitnfiew met minium • vfirn • jawni • Itplngmui.
.ivmriumi. bydrjmi. bi ljet. naifi» demennffime !
Pitrer cprei mre h.m rtftnnvv. «t mfiriremt i
renimic <mc Ira pirer anifinnA mc -epnlbtiM nie i
cwtfh'HA opup nici'i-.vfin'Piai'inciii bcwe-ntgniiro/
/ /Snittsium. \Ą tve nirejhgiini ■•: Q‘ mrellciciP aiftvtnam <7 q-nific«'
✓tbemfin • Cmvny.\' «Vincmetw rencits-frirpir.i bcCTcime fpnnm
tamami • lcmelt<ni\ Ium uire.ftengt mm mcMl a irelUafi piciu'
/ /er. lonetegcr. reitno , , inacćm incam p ttc fiawńitcituA gficffi/Ti
ctcniA- fimmictbc. fitfc-\ n.i pńrtn (i'ccixnnirc gnnnn fpüc. ('n
t«»ni<nnm-.neclK. Mutnutr. \®ama<rfiinnmen- , „
WifnitHlr. finMiMy.jcrip.me X tii<- fiic prttn mtiwllmn:
/ OTl- joImC- fiibabot. firntctiini. 0
'u.ihtiKi eiiiiiM Aarftc crcnntre (bum
rmcttmi -refiwbue fiipnjns netmS ur ...
Umer m mc ct cgp m tpv m (ćoilnm ftaih
^muęii. CtiKcf- bntfr.im.icnlsl ■ fcnbcl- tejc
’ 0 ,rl <on’0|t’ilibUiP qm uemia? »
'X ‘“"gremia miii qni ronfirmas oinumiitunm Sali
/biM imfinartmun mam pftnlo n napicie icmomwrem
x wpofro raitm crivqinrc. ćt imfcinneiimn tunriim ałun,
śnieni Hiigitp.ctcrnitntu’ mc ilfflucnnam ■ ct miftn
rertne fiqpha* pictntrni cum amfiflienc recie qn
; \\ •‘.-omfirmcfi-tfr rei
'\\ ^xl fitennum m iftp .ivre mićbi jw fcmn.
. \\ picniton tuam Ct grńm nimi, eona w
x miriu.anicn.

yM^it^c inwpKrilhmi frj /

■ vctnmwibiio arn^

■ll

a. First Nota of Arithmetic; b. Third Nota of Arithmetic; c. Second Nota of Arithmetic - f. 24.

296
 Ars Notoria

v'Jftn owino bi» ptvfci imiv ante »from fienvam ••
« Onfiitov tibiinic«2F ttm> iwic pmer«h<t«vi. anf roninrei-eihi nfi
Hlumi n miiifibtintrti ntanitwnmmty wtwmmsftm ^C’/WWfibiu;
»iftinfiitoi1 Atrj-iorgiw <|W«nftews raptcntumtnmti ct reicnnrnntnii
afuuninp itqn'otiu’ fnmtlui Ivotc xme etrmeft n i«S«tu me» ftnbik.il R-,
ndt> ‘Trntra mesrm fitmmn a mttHigWKMm mesm •rntyciirvmirnctrm g0
puetn orteTibSTim nm«Htjrmit- signa tone vne hnnoi n»1nw tin nijsr
me ut piwn-fii» nwnatnft a mielhgtw efflaai'«■. fralnbn m manawn» *.•»
ttTnvcvfttf inWiffiW ct «WWW nb onubitf Mcvflntf itwituw <5 hjmk1
mciO mvtv.llcam m flnymvtemip-piwba me nnftiffrPiIHmc tj^nftpwni
tifittnc wiwrnw n*nct> mm-cmvtm Wm cm- meum er iltnftin gn?.
fvni ftmrtt «7>gne fflfisinomS file nifltamc-iSt rthtmtun men«.
< fbi-nniPtne ftnbilttrrtWtnc ptmffc mcoo ei biwuhmi amS>
tttMme me xm mwamMmmeflm-ermftrqttatwftfinimftMVittTiic
nemmfiicu'«.«'l'TOrtviMaPtiia0 wijjfftf tnenton nuX
tnmrnm «mfirma fym mewn. nt em .«ncsttip mnto a ftrbibnP pnst n
preiwlcain n trnfbrw 1 «l{cta«e •miavm tiutviti.'Jnlbnumidn »nt W»k’.
frnnr.ihtm intt er nngc nictrm mertm n mtrilectinn men <n twenern W&
p tjifto Cmtn fivirrrtmcm ‘Vtvftn'n.wi.iir itjnbnu fanvmtvm'mnr.’inw tt<i
tatiii feiujmcite amfinntnr #j mifftatuv. wte wc n »nfttstn wtne 1ntor
nientix- mec a flJttiwMHa» mH temgna Tme a .. <C1<? rnteerman iwram
ctmColatotW flJiiin Cmctrnn-ntmc fhlbilrffltt prrfatn mnmnreryOiu-
.iiinlui mifbt nmftiw nt mrtftttftnbw. fhnytnr» <I>w tvfitwmiefimr
wffim Min mtc nnnlifi ■ <rmcn_ ______________
X-nbriCT- Ifta eft prnriTagma mttg aftrengm q»c Mbit let figiw fTft*'*u’
bfiwti^ivn HTmotetetniltoin tn Inna prmtn .Uiniins menfte ce.i»ftwx
tS^iwa iijbft Prnn ttreu £tl» mni« fet c pm«S giMliter sievnuiapienflis
'qhitwmibie -arthntwum ..gkqnrti-nJni fantf »irct*i,t nfip ncmeptncni
(and ititwitw tiffi: .mnoripro (bnki-unrna ttfti annefpernP fanei f{orncux
bSmt-. _
iKm'iiinquMibtt'iittt bi» pr»#wi<w<iiiiir->
3ftn m-nao pto^wmn biti ante >feim fam «sm-Htit-
rw|l0iciiiM(b<3nn«iiKefl,iiemts..it>tr1t><jic vi^wti«menb trek
uo Irrawff^kilavtr iivpHiWW tft» »rwcorltust meter ,r
yfirtrn’tnriwnfjtttii ««>. tSrwtplHamit I)crv,i meft neuMnot
iw(|KwM>»h mt-et&lgrtr tome m* <t miftwitvSta
tti.1 nt ut&iumtt WM».«-xn1.wmviwwmcn effiennter mlao av /r <
-ouinfonAmis nferth;incut n®n«Tcentdc4iimm
ncr$iaaa nta Twat n-ta a w inco itrqnratrouI'mniK-tv fiPiufftv-
.ItnrntnmtslligiWi fioircuftKitiitrabnimn tra aiftmnam Cic menunnw
temunamb tm Kncam-nr I'toptnranm nunw imtitre fliiiMtnis cri-
n nwicttiie tn tnc tnt miftvwrate fiioftttiram nftmtiMwn gtiev
ffi.iitataratiisincpibiie nummi;niitnmi iiifttamn <■>mam-menufi
weentwjmi» pn'feiiciimreraooytsnt.-i «reipifcr.- nnUTObtatu-trfftit
town tui tnic plenanc tn me oixumte feftutm utfibihn fine
minflibthntti ntidit swncvCnKium mfitw atty wfttcup gnua»m ft
yn-«T< itmen. Dftftcft- fit figityfl_nvna »(taumne tyic ptimi
figmwn tebet ntfptn'fiknttytowrm mtcwiMla v-no <tt (it nifpme
uaeft y»fr ptmtiim qunrev in we er <n>1ao ctuPHni |vntntma.«ft
tytalih-tni«..

a. First Nota of Astronomy; b. Second Nota of Astronomy - f. 24v.

297
 Ars Notoria

jftaonfttio biu piMeiiiitir ante qnmtain fjgnnw pliJofopint;.
wtaptl. niranl. meiieSwi. «fclitri-
tynjsl. VrOvta* - iriwto'n. Omen«)1« fcinimen>’_. ba»-
reittMl;an - bicnisnaytt. Utmmmotvn.
cj'noriKyn thnwiylwt • fagytioii • ijr tioneiyi-» bwfwtybctt <
btc file nttcviwttnm pofteu yivftmtin-lKc^WOo •
<S>: i-cjnni wiif. infinite nnftnieVrOU isiiutftcttW wneitftfor
.xitm- ittq; tnfjwffwr at -mfpnifittor. Ritbiftror ohrni fhntm
mciiwi-nm - pne ffinttitneittimi mmi tiinrri iwnmi inmc
in-ncft- cnwm.fis>ita.v>?j4sP.Fh« w«terwirp»n P’ft<««»»>j-
PffnvOTi arcwienwnl-fanooltirtiijnioiiiTiiitHofffttiTfpinrrt
«.•nhiOi-.iMc mftipcinani evmJmct ntfbu, 1ftA.1t-finiii.t«.... „.-l., '/
c^-w.tu. tiK «•„,frrmetm (Vfio Onitti.o »ml A
ugaencm -wtittapp tut qnt ittw«r ivtynap <v>w ter
Jftaoniac V-isjlectin- nnreTcytvrm fianintn v>b^ <Wp61'ftt11
rSST6"- JttW*«’»” ■ ^aiatfti-OasvSt-. Meib^tar m:; n ..
IcdiGibct jqroutrti. «miipv .
eni-taf.sv- . atjpmfaar. baiomiwn 1 ’a+innZ«, -i.rF
• IkvI.iUSi . nmifa, . uaX’t' r™>i>
SC!’v
........... av-.. «...
Chnyftflfci- ixArmvkl* fc<w~mnaf’. feo-fq iii'rf’-fi'dwv:..w'--
It ‘<pim finmH - tniHecwf
piM^flwilil tnbiMtof. (pwiynof. hanWftr. anWn. ,<aww”^
bicfiicinwvuaihiniToftenkemtiwiflnonir».
evtfsww witp jiiivxnvt(ftwr ofinnagitEiaor.tmi rdavnivn.it-iH.tniM
tic infti-w nic nomen fimttum tuuin ‘t p ixx Ctnta tiw r.ln-imZ
ta ol'itnitol ntortem manti-ce mtve-r Rin tna ntfiom men fiwr,i<m i R
ci« « «Jo e>fiaieolcmn iotribim nutft pit wnp Ciliwtorohmi. qineafene.
tomtan? ■-.- ttniiff picfrnw origoiiifli-nc inc Ixtinc in ifho fneusw mine atm
ftofiiqin cevntta wue .mien-

1C que qiitnni figinnm fartt» iiftqno

nitei luilio fhjtnii wbsrmfpin cfoiMoones <t»<H»jpnc bid

Wn omno pnHiinhir bis mitt qnnitrtin fimiminvin*. ■'

eiiti p.«z in menft .iqno piixcnr cine qt’ Iviimn efr .cnine m.1f
ni»ni wmpfttifibilin cft-.amitn liotnc yae nicas q>ns »innitji.-r i
fttc itthn cremate n>icl:i -umiiiii qvtltcptto. Vctcmicbtlctm.nn
Bliitr. ii' mi nt tiW.nii boMe nnquoa in.if. new -r Rmnt.v Rinmmtml
Cf.csnutir.tn.i- :’c « wbifleii or meimih-itr <y aTtc u’pent ei oic^mcnwu
nt w fflouitttf b.iteirfftiiMmanum-nt iofsi-ibnc n’-■■ eni-nemtteir o>
.tlnittm. amen.
'^^ni^^tiinpVn^^^^®^'1"11'''’’1’1 f'®r"v'1"1 fheMtntWMlfo

. wt. w liuif.. Horif«? ftlifi .ft v/

j’lWtsvrenciiiimrt.yiniS j.'Sti.’ita;! । [
■A'CHiiianicKKuimt®. fnifKci-JM '
/'“tn nfc • 'MnU'.hiv pnvnaq q-Wpf<\
1 mjiftiiin.-rticwi elnuvsfe. X
uiiltcB itift rue- luflta vunfirawfeuX
\nt ccvftw Wncmbth UKtsro wapt.
’,4W>idM jjftasinn iftiuSfti? <? z / :
I icc<l' 3 tc tsv.-encme 'nnnlniitci
jwptwo <i»n «,pn>i«CTt <-yi
-'-.'..iwntv atnisrfqdJjiwtaV

a. Fourth Nota of Philosophy; b. Fifth Nota of Philosophy; c. Sixth Nota of Philosophy - f. 25.

298
 Ars Notoria
?n<no eum anre'iftnnt «jwW
610 ttnuv pWtlO •’"Ktvr «cft'osW"««««
WRn n rnftnnnwomm gent«1 g^WHi'Wtt rtGtwui onim avail _
tinvuev m >ncnft tE nnw nuinav« miFcvuoi inn item« nttairai
•obis fiwmtllfl nu^Mwimi ifo»«« w®wn« ■mjm&W-qtit amtdn m
rtro iraiai num amrclWh C><< Oanmra ttw mime «(fonts .-lunntnnt
erlibem an-mdltejnaam Mil an*» apttnaetb q ntonmua Mnwmo-w
iwatt crcinw fonnr-iaow afibeno m me hwonrut pnvntcr cvtm$ur<
xrpvmic urfiwnmo «u««««biteintsmtte tcktrevKiOiStxtf mW .
irtitumcan-ats mcinrmglifictaonc but amfli-m.lttio «rotkttntnS mligt
tc -fit augo«"»’ । me tmtiio (Imai fono |»r Otlnretn «win re Kminievrtar
fit»6unHGilnrem .ticntccncorpnam« «men-
>ftn oraaoftnH profomtnvpft mnercamftin fine nttertiwo
C-uJ purer ni menft .wiio^nwsmc ome <p tarn eft- rnifcianfliOfmc
oifmumdhne aitourercWmeoseirsviKuifimctiftmtf axgneuifi
ffiaomo me mtamc borne■'ijptanO efto midx pwi-«oftci>«^
m mifiarouminutmutfttem n Omer tf fonts qinsnieeertfolt'uotu
tms ata ternann Hnc-cpftrtl«m<-iintrflignm miniinlmmA-rutjmc#
a. Seventh Nota of Philosophy; b. First Nota of Geometry - f. 25v.
299
JRrt omr-o mm ftqyeti m-pw(hatm‘ «ntt $>ntrm figwm Jetnne^t.
tfmnht. ftniimav . Tolinf. pbnics. nci-giiamdi: .?cgwmor.
mode. WdMnniv . airtoeo. fomadna • nwdnnn .Wei. ImI;
Ivubol. gom r ,-.
b’cfiit {Minn mterriltljiini«piftctilegtie iftslm ovnnoncsi
, cua mftne mW omWen* pmev qm neni nobie ftafo (alutntx
tuum -n tamfoxmgvnanm vciieUnftt niftia,tmtnmn iriidia am
(oo mcoo a an- m«i iUn(hn foiirnw inftuiama-ur mnitlntm ue
tmo gnoilidrmw fiummentio eivtntmi • qiunmw jcrc«m trmtnm m
bat avre tonftijmiv mtcUigaiximnrtttcpftmtte qm (blue mmWnifri
aO nv.tgna mqfi mte fiibimo mtevpme cfliaav-'Dr m<M fiufimwcn
manat i.t amt ftsbiUmtereirpni wnintacn» -jmtennsr-vr nitet-affire
aictartiuittutti ailcfttu hmotemte HHjftforii amen-
Jfbl cft’iniiLEsililLSsXn'exye^Aea untfltiieiioii« linntaoie
anmie mcnfiO uRv ■K’ (mem Klvr mfoia qjmlttet me rev• (Irene mane
fcntd arcn revn.mt ftntd mm mevimcrn pm<l <t piftrf ni fpttmniv
Rambsi figntn litttr uStiio tnori-irelUb ■ 3
t?
 Ars Notoria

IftnOTano proftinnn- Cepw mtfewiminn figiit-.w ebeolojic-

Iflnor.W urofcmwrovrtnts nmwonS MompHnfiWlo-nnufiwlro -iniOnnfiMTO WTO TOTO hreft name
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WW■■&' WK» wptettO KHhreicir.ro ;ncito»ftnnwrot»irmTOMm«W«iv ratu ni<u-<?rcgv
rtertbyn -<i fe.npbim per wgmti qumuov ftnanw -yr jtwa <rro«t’i .-.laciusilro tnwvJvW gtWtm demtaara turn nt infi.tr brew fpiio fimmro
Srcmcm mftn.nn cdcfto cwrsttTO rare .«os ftgrto neiwi jjhfiro Wrmwar. me.- <t tn one wiro mroa qn. nwM»K*aren-C-mo nn»ptfh rrfidem
^cv/ita iromcn tuutn r.nimffhm. tcrnbito « nT"w?', tntW.rolejijmetSinUBnnvmrcDTnuhlh-tonfcrhWKT rfn gi’nnfigicrroo4
micft mii nr botnc rortncnm Onto ftmcti hnmnc qpatro tucnin team« 3K <mnmflnmfViftto»n»»-«t'indhg™nqi»i>wa^nfhw<toi japHro-^tfic*
SXSffiw,, <m-rotonm.nl .(I.Hroo ni «m te n-m.ro ctw?
iuhn8i tro moriromc» ro&ncprtTOiv.OTtnh: midn ottm® q-jj-KRwro-ctemii»’.
■Wn- nff0mniram ab^*POnwr*.w-«nntaKrnreu:fiirotWCSmi-<.irapcn*.-o romft
ibjmu-t cutout mtoUcantwca ...wmfcOT- tn oft anro mn fhmhtu
oraftr.rmaws tnjtereo vninOimcltwaiBihoa anrcmt itn-i Kimfs «tropic nU; rrcf
fiafaa Pntu^Mw. mifttwriM.nim.ntinuilnntoie ’mfiumrini.ww ampWmcw
taw cttepto.ro mW magnro etwplacMi nrannmlhrnft nteaws -Ct f <pa grist
nro.-rei;mto<tivftmitmu6ctaltatt’ mrae c.ofcSmcacniuattnoRto'innef-ftrisfirTO.
ctoceev,ftrm nmn«<uu;®hmficft-.oma>sgfjanijrrti«to* R®a>neHnnt-ut.tia
ii»uni nfapfli <i«8tnte rfftro-tMcnmne <? ifittre ntcptt (tett-ter.roa.'ttotovmts et
iSiui>-.ro va^tnitc .Kwicflsfto-ctfni.ofiin'n nmMhgxntumi .tCrptimfi turo d
oimtrftnitn piomTOffi frn®w-€tfimnra-wtan) <zmcmdft«r>«m«?-niivvi ffr' «1
titaitt -mameftS stmcptwr »ftTm.unwaann<tn ttmcjrinmi fenW «IroftuctrtMf
i.trnmamv.cotKtltyomcn ^tanndn one irnmppno-artnmafrnewf et
iifcwn ttpmem. n sWOhrtsn nt nrnnpno pflidnu«» Fnvt mu <r netrtato pro tWi'netc
mf.noman.uzicmai.ln.pV.-itomanrouri-.rimifit-rfcm wnSiW
tfen tm tens mcito n pttn-nitc met fimawu aa qn-im wiSw- Jjrti nnrtn we
tetrmq ft <nprmlh pttopfcmfts .w- et mid nrrniftro ftriiro r.uf bsbintm idsc
^Ueb- .wjindl^ttromnnf oifarnairom tteanrousnoft-ftime promt h>mc pits
<row<ro.«p one chonCmcwwi .mgeioi taabiir, ftdmm itleftnnimrttnn nrmn;
friptm-iritrnnwitm anJro «mftmntrdBcnt- rnnen-

'm.iiicft i[hl<ft ynmaKg»W rh»legic <.ncaun<ui inTan-onip^g “^ .'8a vere

inmh mciw hmaaonft prmic idxcn.Qnn ftnul <c«>»*evrnc«S
®rro'y.vfcm <ft ftwto «romm-ii.ifle emwM« ft fim.re iwftmhSn ft?
at Cricda fim.in ftmef m. tpitfat.-..- fie mni .igmtoiun eff a: .a.< mftu> ftynv
"jfojjMhM me ■wniromcnfiSiifl.m» ■mownlS: anmenpiein .vnermit nllp«*
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Snrm figinhrrm. qnw fi'fiu» .tetri - ft. lilagto-»« mn, ". ■ <a»t ernnona? ■
atlnicr.n t OmO <l<- -.Vi cmn. ;».<;<■ sr—H<ri»git-

benMummr- Uinathtto ton- nditma*-. fttnisb - W

4. m.-tf to(yn • Werner- toinmxy fa$na?imur - rorr.-:«ion
. ;>a;ilien. froUmaf-- Meftnetbof- Dnamarfw-
SV ikioUilxcnw meffuen mengwif- Ixrfrmw h.-cntel-
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. \ lewSmvr- «i1 Hiwrolr. ft;». Vainr -iaiswcu»
ts XCBVew- fiqpftfffet ct cw.vW per fcfin wifi
arorromwiam erpsvno.* farmn
I muro tomko to 18a o.-vaone m anviUm moi ut ft ‘
fcm>«imc cTOnpScreo. i
.<<n<r-.o ow>- .
/!?.< fnn-ispiitn mtei-imTIun. foftwl legns anfttt ifhi
noi.i wi er (iwnm flnjelo.-iwn of femaw-
gt.biioy MWf-MS’l«.: >UcCi4? e>rm>uM-
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»me >:anrfbAleP Hxa
...>. v-.d-on^mc -.xdron«U-notSronMn-oC^toi
jwrosC- . ano-j^cr. /”«S.tnS^ifecl '
tie Cttr-nan. mcam iSbou .wok: wect-pft
tltixt cor..-.u-.tti in (WHats ant
cr ir-c.it. in« wefc-m«n t^Anc ot fti<ttn ftJutwcm
g-o oa anil tnntiirn®
iiciA ftfl.toinni «men-
j-jic -fiiaafiftltjFpntttn nit3i-«,iU
•poftcaivcuvtsiir no Finnfigte;
H^cioenc icjme en.e
ornaonefi- ifjjuiecv a
ipftw fiKtitaitn-

a. Second Nota of Geometry; b. First Nota of Theology - f. 26.

300
 Ars Notoria
^ac ........... YC.W'-,:

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9 fignmm rlHiotoffie-’
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< quittfmwawen-ns nich mam -e&fwm numugmcaa
inßnaao ftgnrnm ■> / nr aptttr iwrgclntit-- crfói
& mami 1 tt uikwn. tntatn
iii .stwcmCBiir iiOwm-wiJi
Łia rma picie mcc« irambitię
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ifl mepw • natiimiM. t.er^ann’.mn^uaittam.
. tvatnayr. ftplwmay T»tt»wü iStr
rnmna tmÄ- ^iwianin. fifei.
-.emelobr • 7a*ame(oljt ■ mat^tÄMM • fttfovani - 7eein<OT>a;’. xe
gor . Jcjvwmay - •jsmiiwhen • rfiaaf- V>d;iujf. Wmei^
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Iju fi -nitcrtiaUn fältel -pivfenHnr Hbi «iMcio.
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fiw bewe opuampl ® ttre me HtambMicm mfinpwrwtute •«•£
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effitaoe {imctt pro W* Wro -ec <w mcü cnimw larjtriiw repleit <t
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fttnnancat (tmret «imuJnptirttyr mmt • ojnaaucsiuw tncdtpttmre ’’
demcoe epic f Ci’fimatnUg a incfiiibilip ® eonfrm «* mdi botne iitep |
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aintm ifrH «ft- tevaa figinn ffy fijnnmt Kiew
ytiBilinialle ihitiiwiec ipnncolviii niöte fi

<uw mcrtjnc ftmcl orwniTt c?

(^pcieatrixrwn-________

a. Second Nota of Theology; b. Fourth Nota of Theology; c. Third Nota of Theology - f. 26v.

301
 Ars Notoria

ifhi .mw wtet v mfctn fiffumin jjcnciMhiim • .-Jftiionwpiuftnnmrrtiitc^tnil ^«mvnmpInMfjptnevip' /

fuj tmiw nctnw acw «fifointtiii oium Cilwi> ctmia n rcccrnp
.mmiornni mljnr.Włńtm 5v.1n.1rum .i facnemrum oimn
m-tmml.irator mmcnft xt emu» mimcic mmltaeortnftiic
,„r Mttinnmi uctn» fiwwW ™ie facncwmti itpitmr Tonera).lu
«ffltiinmt ani wnt mirtu mifov pennon mrnnamccffifti Rnv ftoi
mtitun-tn tniż tcffoi» .ńiimmcmn Ginrmcormcinn otm-.tiuS
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mr-.W sd&ffo m mc lec omia pxmetnngni «(« nt ftcn
mo nufi a .imlniti tmmme o: letter ni as • ćt tó> nnrti irtiamic
cvr»i# ma nt I'fficnficuwic mA wnfirm.W
tx ■ cr.uifćttnr m mc ntrtue Cmm fpiW perfilimn m-tm er laminę
mnerwm fialmm l filutem mimie mcc «tm-pn iS ma amen.
CSmi irum.lamion libiriim 'T'«-“1 m 'lln
łnopit te non» exhne ummjfiBLSŁ-
f ‘ tcrtpmcf. jącmoiner- hWtartm. AmiMrn. Iriirinicdtl.tacmc
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MELilLlini 411 trie m ul.l Jie im>;nałnt.aauuM> ,mr mnemiuw,j.,/zzr,___

, Tfłnnemnni ąt
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ilho hemin«, mile
/ tcernntm-.in mtmef- Mcgc
lilie ereraiml

phMiwlen-
mi • det

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a. Fourth General Nota; b. First Nota of Philosophy - f. 27.

302
 Ars Notoria

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a. Second Nota of Philosophy; b. Third Nota of Philosophy - f. 27v.

303
 Ars Notoria

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a. Fifth Nota of Theology; b. Nota of Chastity - f. 28.

304
 Ars Notoria

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a. Nota of Justice, Peace & Awe; b. Nota of Self-mastery & Silence - f. 28v.

305
The Notae - National Library of Israel Yar. Vah. 34

Liber de Arte Memorativa sive Ars Notoria

(Version B)

1600

Figures 126-155

307
 Ars Notoria

Secunda figura Artis grammaticae (Second Nota of Grammar) - f. 8v.

308
 Ars Notoria

Prima figura Artis grammaticae (First Nota of Grammar) - f. 9.

309
 Ars Notoria

Tertiafigura Artis grammaticae (Third Nota of Grammar) - f. 10.

310
 Ars Notoria

Primafigura Artis Dialecticae (First Nota of Dialectic) - f. lOv.

311
 Ars Notoria

Secunda figura Artis Dialecticae (Second Nota of Dialectic) - f. 12.

312
 Ars Notoria

Secunda figura Artis Rhetoricae (Second Nota of Rhetoric) - f. 12v. [See page 92.]

313
 Ars Notoria

Prima figura Arts Rhetoricae (First Nota of Rhetoric) - f. 13.

314
 Ars Notoria

Quarta figura Artis Rhetoricae (Fourth Nota of Rhetoric) - f. 13v.

315
 Ars Notoria

Tertia figura Artis Rhetoricae (Third Nota of Rhetoric) - f. 14.

316
 Ars Notoria

Ista est figura Artis Musicae (Nota of Music) - f. 14v.

317
 Ars Notoria

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Ista estfigura Artis Phisicae (Nota of Medicine) - f. 15.

318
 Ars Notoria

a. Prima figure Artis Astronomiae (First Nota of Astronomy);

b. Secunda figura Artis Astronomiae (Second Nota of Astronomy) - f. 15v.

319
 Ars Notoria

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a. Prima figura Artis Arithmetics (First Nota of Arithmetic); b. Figuram semis Arithmetice (Semi-Nota
of Arithmetic; c. Secunda figura Artis Arithmetice (Second Nota of Arithmetic) - f. 16.

320
 Ars Notoria

a. Prima figura generalium (First General Nota); b. Secunda figura generalium

(Second General Nota); c. Pertia figura generalium (Third General Nota) - f. 16v.

321
 Ars Notona

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a. Tertia figura Astronomiae (Third Nota of Astronomy); b. Quarta figura Astronomiae

(Fourth Nota of Astronomy); c. Quinta figura Astronomiae (Fifth Nota of Astronomy);
d. Sexta figura Astronomiae (Sixth Nota of Astronomy). - f. 17.

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 Ars Notoria

Primafigura philosophiae (First Nota of Philosophy) - f. 17v.

323
 Ars Notoria

Quarta figura et ultima generalium (Fourth and last General Nota). - f. 18.

324
 Ars Notoria

1 The foliation of this manuscript is erratic from here onwards.

325
 Ars Notoria

Prima figura generalium (First General Nota) - f. 19. [see also duplicate on f. 16v].

326
 Ars Notoria

Figura Justitia et pads et timoris (Nota of Justice, Peace & Awe). - f. 19v
[see also duplicate on f. 28v].

327
 Ars Notoria

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Figura Castitalis (Nota of Chastity) - f. 20 [see also duplicate on f. 29v].

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 Ars Notoria

Figura Reputationis & Taciturnitatis et Reprehensionis (Nota of Reputation & Silence and
Self-criticism aka Self-mastery & Silence). - f. 21 [see also duplicate on f. 29].

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 Ars Notoria

a. Secunda figura philosophiae (Second Nota of Philosophy);

b. Tertia figura philosophiae (Third Nota of Philosophy) - f. 23.

330
 Ars Notoria

a. Quarta figura philosophiae (Fourth Nota of Philosophy); b. Quinta figura philosophiae

(Fifth Nota of Philosophy); c. Sexta figura philosophiae (Sixth Nota of Philosophy) - f. 23v.

331
 Ars Notoria

a. Septima figura philosophiae (Seventh Nota of Philosophy);

b. Prima figura Geometriae (First Nota of Geometry) - f. 24.

332
 Ars Notoria

SB&tfitlv&i’ _____ _______--------- -------

ti Qiafrta. fug ft*

Secunda figura Geometriae (Second Nota of Geometry) - f. 24v.

333
 Ars Notoria

Prima figura Thelogiae (First Nota of Theology) - f. 25.

334
 Ars Notoria

Quartafigura Theologiae (Fourth Nota of Theology) - f. 25v.

335
 Ars Notoria

Quinta figura Theologiae (Fifth Nota of Theology) - f. 26.

336
 Ars Notoria

„.
___

a. Secunda figura Theologiae (Second Nota of Theology);

b. Tertia figura Theologiae (Third Nota of Theology) - f. 26v.1

1 Folios 22, 28v, 29, 29v contain almost identical duplicates and therefore have not been included.
337
 10. The Latin text of the Ars Notoria1

The Latin text was not printed in order of its Section numbers. We have
reorganised the text of the English translation to logically follow the subject
matter and the Section numbers, but we have not changed the Latin text.
Accordingly it is important, if reading the Latin text to know how it is
arranged:

Prologus
1. Flores Aurei Sections 1-69
2. De Scientiis Liberalibus Sections 71-82
Quaruntur in inspectione notarum Section 147
De notis omnium artium Sections 132-134
Ecce ad principium notae Sections 128-131,135-46
Qualiter tria capitula Sections 83-109
3. Nova Ars Salomonis Sections 110-1252
4. Supplementary Gloss & Prayers Sections S147-S176
5. Figuram Memoriae Sections SI 77-SI 79

1 Included in H. C. Agrippa, Opera Omnia, c. 1620, pp. 2:603-660, although of course Ars
Notoria is not actually by Agrippa.
2 Sections 126 and 127 are missing.
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 Ars Notoria

ARS NOTORIA

{603}2 Quam creator altissimus Salomoni reuelauit.

In Nomine Sanctae & indiuiduae Trinitatis incipit sanctissima Ars Notoria, quam
Creator Altissimus Salomoni per Angelum suum super altare Templi ministrauit,
vt per earn omnes scientias liberales, mechanicas, exceptiuas & earum facultates
per breue spacium temporis possit subito acquirere & habere, & in proferedo
mystica verba sanctarum orationum in omni sapientia penitus fundaretur.
Alpha & Omega, Deus Omnipotens, principium omnium rerum, sine principio,
finis sine fine, exaudi hodie preces meas piissime, & neque secundum iniquitates
meas, neque secundum peccata mea retribuas mihi, Domine Deus meus, sed
secundum misericordiam tuam que maior est rebus omnibus visibilibus &
inuisibilibus. Miserere mei Sapientia Patris, Christe lux Angelorum, gloria
Sanctorum, spes & portus & refugium peccatorum, cunctarum rerum conditor, &
humanae fragilitatis redemptor. Qui coelum & terram, marcque totum ac mundum
pondera palmae concludis, te piissime deprecor & exoro, vt vna cum Patre illustres
animam mean radio sanctissimi Spiritus tui, quatenus in hac sacrosancta arte
taliter possim proficere, vt valeam ad noticiam omnis scientiae, artis & sapientiae,
memoriae, facundiae, intelligentiae, & intellectus: virtute tui sanctissimi Spiritus, &
tui nominis peruenire. Et tu Deus meus, qui in principio creasti coelum & terram, &
omnia ex nihilo: qui in Spiritu tuo omnia reformas, comple, instaura, sana
intellectum meum, vt glorificem te per omnia opera cognitationum mearum &
verborum meorum. Deus Pater, orationem mean confirma, & intellectum meum
äuge & memoriam, ad suscipiendum, ad cognoscendum omnium Scripturarum
scientiam, memoriam, eloquentiam & perseuerantiam, qui viuis & regnas in secula
seculorum, Amen.

1 There are two series of page numbers to help you to follow the Latin text in the
English version. The curly brackets { } give the page number in the Latin version
bound in Agrippa's Opera. The square brackets [ ] give the Section numbers in the
Version A text of Veronese (2007).

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 Ars Notoria

[1] Incipit primus Tractatus istius artis, & expositiones eius, quas Magister
Apollonius Flores aureos appellauit, ad eruditionem omnium scientiarum
naturalium generaliter. Et hoc confirmauit authoritate Salomonis Manichaei &
Euduchii compositum & probatum.
[2] Ego Apollonius artium Magister merito nuncupatus, cui natura liberalium
quasi cessisse videtur, tractaturus sum de cognitione artium liberalium, & de
cognitione Astronomiae. {604} Quibus experimentis & quibus documentis artium
compendiosa competensque cognitio possit haberi, quibusque naturis temporum
idonee possit natura summa infimaque competenter diuidi, & quibus diebus &
hotis facta hominum inchoanda atque determinanda sunt. Qualiter homo & quali
efficacia in ista arte dispositionem vitae suae agere debeat, & cursum lunae
inspicere debeat & studeat. Primo arbitratus sum, quaedam praecepta de
spiritualibus scientiis declaranda, vt ad singula quae praefati sumus, ordine
continuo pertingatur.
[3] Ne mireris, ergo quod audieris & quod visurus es in hoc opusculo subsequenti,
& quod inuenis exemplar tantae & inestimabilis eruditionis.
Quaedam sunt postea quae sequuntur, quae tibi mirabili officio ex antiquissimis
Hebraeorum libris extracta legendo praelibauimus: quae vbi videris, licet mystica
fuerunt lingue humanae, tarnen pro miraculo reputa quod a Domino Deo tuo tibi
noueris esse concessum.
[Explicit prologus. Admiratio auctoris de tanta virtute hujus artis.]
[4] Ego si quidem de propositis naturis prius in me miratus sum verba quaelibet
tantam posse habere efficaciam.
Quanta sit efficacia verborum.
[5] Est enim tanta quorundam Dei efficacia verborum, vt cum ipsa verba legetis,
tibi facunditatem ex improuiso ita augebunt quod quasi de illis eloquens factus
fueris & demum Dei singulis aequalis fueris effectus: veruntamen vnde haec fiant
sic in sequentibus capitulis orationum plene tibi demonstrabitur: Nunc vero quae
ad manum sunt praesentia differamus.
Ista ostensio subsequens est de arte notoria.
[6] Ista ars diuiditur in duas partes: In prima ponit notas generales, in secunda
speciales. Ad speciales prius accedamus se: ad Triuium, postea ad quatriuium.
Tertio vero ad Theologiam quas scientias cum operatione istarum orationum
assequeris, si eas sicut scriptum est, pronunciaueris.
[6a] De Notoria igitur arte quaedam notulae cum scriptis earum nobis manifestae
sunt, quarum virtutem humana ratio non potest comprehendere. Est igitur prima
nota cuius significatio est ex Hebraeo distorta, que licet cum paucissimis verbis
comprehendatur tarnen in expressione sua, & in expressione mysterii suam non
amittit virtutem: Tarnen eius virtus est quod ex ea contingit & procedit mirabiliter
admirandum quilibet arbitretur.

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 Ars Notoria

{605} [7] Incipit prima oratio primi capituli de tribus capitulis.

Helyscemath Amazaz, Hemel, Sathusteon, hheli Tamazam &c.
[8] Quam Salomon primam orationem statuit & voluit earn omni interprete carere,
sciens tantam subtilitatis de Chaldei, Hebraei, Graeci profunditate sermonis
extortam; vt nullo modo possit plenario schemate sermonis expo*i. Quae autem sit
eins efficacia, ipse idem Salomon in lib. II. Helisoe conditoris de fulgore, sapientiae
ostendit: Sed amicus & successor Salomonis, id est Apollonius, cum paucis aliis,
quibus data fuit istius scientiae manifestatio, exposuere, diceter. Ista diuina
mysteria profunda & sanctissima, & quam plurimüm reuerenda sunt & non
absque fidei magnitudine proferenda.
[9] Hic datur spirituale mandatum de praecedenti oratione.
Quod antequam aliquis incipiat, legere, siue proferre aliquas orationes istius artis
pro efficacia, istam orationem semper primo proferat in initio reuerenter & deuote.
Si quis euigilet scripturae, siue quamlibet scripturam facunde indagare siue
proferre voluerit, verba figurae praecedentis quae praefati sumus, scilicet,
Helyscemath. In illa die quando aliquis vult incipere opus summo mane, in
nomine Domini Dei nostri, in ipsa proposita prolatione scripturae diligenter
proferat: Cum illa tarnen oratione que sequitur, quae est Theos megale, quae est ex
Hebraeo, Graeco, & Chaldaeo sermone subtiliter distorta & elimata mirabiliter &
proprie, scilicer per expositionem summatim protenditur in omni sermone in
quolibet initio proferenda sunt.
[10] Incipit secunda pars orationis secundi capituli, que ex Hebraeo, Graeco, &
Chaldaeo est excerpta. Cum ista prima sua expositio sequens proferri debet; quae
oratio latina est. Tertio oratio de tribus capitulis, quae semper in initio cuiuslibet
facultatis S. primo proferenda.
Incipit ipsa oratio, Theos megale io tu ymas Eurel &c.
[11] Hic ostendit qualiter praefata oratio exponatur. Huiusmodi vero orationis hoc
est particula & summatim praelibata expositio. Non tarnen putes quod singula
verba exponantur sic.
Incipit expositio dictae orationis.
Lux mundi Deus immensae pater aeternitatis, largitor sapientiae & scientiae &
totius gratiae spiritualis, pie & inaestimabilis {606} dispensator, noscens omnia
prius antequam fiant, faciens tenebras & lucem, mitte manum tuam & tange os
meam, & pone id vt gladium acutum ad enarrandum eloquenter haec verba. Fac
linguam meam vt sagittam electam ad enarrandum mirabilia tua, & ad
pronunciandum ea memoriter. Emitte Spiritum sanctum tuum Domine, in cor
meum ad percipiendum & in animam meam ad retinendum ea memoriter. Emitte
Spiritum sanctum tuum Domine in cor meum ad percipiendum & in animam
meam ad retinendum, & in conscientiam meam ad meditandum per iuramentum
tui cordis, id est per dextram piae scientiae tuae. Et misericorditer & dementer in
me gratiam tuam inspira & doce, & instrue, & instaura introitum & exitum

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 Ars Notoria

sensuum meorum, & doceat [sic] me & corrigat [sic] me disciplina tua vsque in
finem. Et adiuuet me consilium altissimi, per infinitam sapientiam & misericordam
tuam, Amen.
Non ex toto verba orationum possunt exponi.
[12] Ne tarnen putes quod praefate orationis verba singula in latinum translata sint
sermonem, cum aliquid ipsius orationis verbum plus in se sensus & mystiae
profunditatis contineat ex authoritate & etiam Salomonis, & ipsius scriptis
referentibus agnoscimus orationem nullatenus humani sensus conditione posse
exponi.
[13] Necessarium est etenim, etiam ipsas Astronomiae siue Astrologiae, siue artis
notoriae particulas distinctas, vel orationes suo modo & tempore dici & proferri, &
ex eis secundum dispositionem temporum depere operari.
[14] Hie loquitur de triumphalibus figuris quomodo parce dicantur, & honeste
proferantur, & deuote.
Sunt etiam quaedam figurae siue orationes, quas Salomon Hely Chaldaice, id est
triumphales orationes liberalium artiam & subitas ac praecellentes virtutum
efficacias appellauit & sunt ad artis notoriae itroductorium [sic], Vnde Salomon
speciale principium constituit de ipsis, vt secundum lunas tempora determinata, &
non absque termino considerara proferantur. Quod & Magister noster Apollonius
plene & competenter instruit, dicens: Quicunque haec verba, sicut paulo inferius
determinato & constitute tempore protulerit, sciat se omni occasione remota IN
VNO MENSE TOTAM FACVNDIAM IN omnibus scientiis proferendis, multo
magis more solito mirabiliter adipisci.
[607] [15] Istae sunt expositiones lunationis artis notoriae.
Hae sunt expositiones lunationis & introductionis artis notoriae scilicet in quarta
luna & octaua, & in duodecima & in decima sexta, & in vigesima quarta & in
vigesima quarta & in vigesima octaua, & in trigesima debent proferti. Vnde
Salomon ait istis temporibus expositiua tempora lunae, quartae dedimus, quae ad
quatuor angelis suis conscripta sunt: & quarta luna nobis manifesta est: Nec non
angelo latore ipsarum orationum, quater replicata & repetita, nec non & quatuor
anni tempora sunt inscripta & reuelata nobis postulantibus ab angelko, ad
ostendendam facundiam plenariam in quatuor linguis, Graeca, Hebraea, Chaldaea
& Latina: & quatuor orbis terrarum partes data est a Deo potestas definiendi
humanae mentis facundiam, nec non humanitatis quatuor virtutes, Intelligentiam,
Memoriam, Facundiam & istorum trium stabilitatem dominari. Ista etiam sunt de
quibus Praefatum est, quae sicut diximus, ita proferenda sunt.
[16] Ostendit qualiter ista oratio predicta sit principium & fundamentum totius
artis.
Ipsa vero artis notoriae prima figura quae supra notam quadrangulam
manifestandam sita est. Ipsa vero in Astronomiae exceptionibus a paucis habitis
angelica sapientia. In Astrologiae autem speculo philosophiae annulis nuncupatur.

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 Ars Notoria

In notoria vero arte fundamentum totius scientiae esse scribitur Veruntamen in

matutino diei quarta proferenda, simul & continue, scilicet in mane semel, circa
tertiam semel, circa nonam semel, circa vesper as semel proferatur.
Oratio praecedens debet proferri secrete & solus sit qui proferat earn, & ipse vix
audiat se: & haec est conditio eius: quod si necessitas eum arguerit alicuius magni
operis, poterit dici mane bis & circa nonam bis & confessus sit & ieiunet in prima
die, in quo profert earn, & viuat caste & deuote. Et hoc est quod dicit hie.
Ista est oratio quatuor linguarum Chaldae, Graecae, Hebraeae & Latinae euidenter
exposita, quae splendor vel speculum sapientiae appellatur. In singulis
lunationibus sanctis praedicta oratio debet legi, in mane semel circa tertiam selem
circa nonam semel & circa vesperas semel.
Incipit oration.
Assaylemath. Assay Lemeth. Azzabue.
{608} Incipit secunda pars praecedentis orationis, & tantum semel debet dici.
Azzaylemath. Lemath. Azacgessenio.
Sequitur tertia pars orationis praecedentis & simul proferatur.
Lemath. Sebanche. Ellithy aygezo.
[17] Hie exponitur qualiter non habet expositionem in latino.
Hie est oratio sancta sine totius peccati periculo qua Salomon ait humanis sensibus
esse inexplicabilem: & subiunxit: Prolixior est, inquit, eius expositio, quam ab
homine considerari potest, exceptis illis secretis que non licet nec dantur homini
loqui. Quam orationem id circo totam inexpositam reliquit, quia de ipsius orationis
nullus ad perfectionem summatim de ea poterit praelibare. Cuius rei causa tarnen
erat spiritualis, quia Angelus ipsam deferens in recusabili prohibitione Salomoni
ait: Vide ne de hac oratione aliquid exponere vel transferre praesumas, nec tu, nec
quis per te, nec quis post te. Sacramentale siquidem eius mysterium est, vt
expresso sermone verborumque orationis audiuit Deus orationem tuam, vt tibi
intelligentia, memoria, facundia & horum trium stabilitas augeatur. Diebus
lunationis determinatis scilicet in in quarta luna, 8. 12. & sic deinceps sicut
praeceptum & scriptum est, ipsam orationem diligenter in praemissis diebus quater
lege credens de ea quod studium absque ambiguitate supra humanum modum
subito a augeri.
[18] De efficacia eiusdem orationis que inexplicabilis est humano sensu.
Haec est omnino quam Salomon foelicitatem ingenii, & lumen animae Magister
Apollonius appellauit, & speculum sapientiae eandem nuncupauit. Et ipsam
orationem vitae etermae imaginem arbitror appellandam. Cuiuscunque tanta sit
efficacia a paucis hominibus & fere a nullis dignoscitur vel comprehenditur.
[[19] Ipsa vero artis notorie prima figura est et super notam quadrangulam
manifestandam sita est. Ipsa enim in astronomie exceptionibus a paucis habitis

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 Ars Notoria

angelica sapienta, in astrologie autem speculo philosophic anulus, in notoria vero

arte scientie fundamentum omnino esse describitur. Non tarnen in matutino diei
qua proferenda est quarter simul continue, sed in mane semel et in circa tertiam
secundo et circa nonam tertio et circa vesperam quarto proferatur, hec est oratio
proferri debet secreto, ut solus sit qui earn protulerit, et ipse vix audiat, st si fieri
potest solitarie, hec est ejus conditio, etr si necessitas ingruerit alicujus magni
operis, poteris dicere mane bis et circanonam bis.]1
[20a] Praelibatis ergo quibusdam petitionibus, signaculis siue praeceptis quasi
quendam introitum dedimus ad ea quae dicturi sumus de quibus tarnen partem ea
habent, quae supra diximus. Veruntamen antequam ad earn perueniatur, quaedam
arbitror necessaria, quibus plenius arque clarius ad propositam pertingetur
historiam. Sunt enim vt supra diximus, quaedam exceptiones Notoriae artis. De
quibus quaedam obcure & quaedam clare & manifestae sunt
[20b] Ex ipsa autem Astronomia {609} notoria ars librum habet, cuius ipsa est
principium & Magistra. Et eius efficacia est quod ex ea omnes artes doceantur.
Sciendum est etiam artem notoriam & omnes artes, & omnem literatam scientiam,
mirabiliter continere, quae testante Salomone, ideo est ars notoria quia quibusdam
notulis breuissimis omnium comprehensibiliter scriptorum edocet cognitionem
sicut etiam ait Salomon in tractu Lemegeton, hoc est in tractu spiritualium &
secretorum experimentorum.
[21] Hic ostenditur qua ratione in arte ista differant notae, & ista est ratio. Nota
enim est est quaedam cognitio per orationem et figuram suprapositam.
Sed de orationibus & figuris mentio suo tempore habenda ratio est, quare in arte
notoria notae dicantur. Modo facit mentionem de quadam oratione que Regina
linguae appellatur. Inter istas tarnen orationes vna est excellentior quam Rex
Salomon Reginam linguae id circo voluit appellari, quia quodam secreto tegimento
impedimentum linguae aufert, & mirabilem eloquentiae tribuit facultatem, ad
quam antequam perueniatur parumper de ipsa oratione est praelibandum. Ipsa
enim est oratio, quae in scripturis docendis in ore semper habenda est, de Chaldaeo
tarnen sermone extorta est: quae licet breuis sit, mirabilis efficaciae est, vt cum
ipsam scripturam legeris oratione praememorata, reticere non poteris, quae tibi
mens & lingua suggesserint & administrabunt.
[22] Ista oratio quae sequitur, est quaedam inuocatio Angelorum Dei, & prouocat
facundiam, & in principio scripturarum debet dici, & in principio mensis
praefertur.
Incipit oratio.
Lameth Leynach. Semach, Beimai. (istae orationes non habent proprias lunationes,
vt dicit commentator supra in glossa azzailemat Gesegon Lothamasim,
Ozetogomaglial. Zeziphier, Josanum: Solatac, Bozefama, dafarciamar, zemait,
Lemaio, pheralon, Anuc, philosophi Gregoon Letos anum, anum anum.)

1 Restored from Veronese (2007), p. 40.

345
 Ars Notoria

[23] Qualiter ista oration proferatur in principio cuiuslibet mensis caste & puro
cporde semper proferatur.
Vt in principio scripturarum docendarum secretissime debet dici oratio praedicta,
& quae tibi legenti mens & lingua suggesterit, reticeri non debet. Praeterea
sequuntur quaedam verba praecepta de ilia, quia in principio mensis semper incipi
debent, & etiam in aliis diebus. Ista etiam est quae memoriam. {610} Sed tarnen
sapienter & cum maximae venerationis officio, & antequam cibus & potus sumatur,
proferenda est.
[24] Sequitur oratio de quae locuti sumus ad producendam memoriam.
Deus summe Deus inuisibilis. Theos patir Heminas per archangelos tuos
eliphamasai gelonucoa. Gebeche banai Gerabcai, elomnit: Et per angelos tuos
gloriosos, quorum, nomina adeo consecrata sunt, vt a nobis proferri non debent
quae sunr haec: do hei. x. p. a. li. o. ff. &c. quae humanis sensibus comprehendi non
licet.
Sequitur prologus praedictae orationis, que prouocat & adhibet memoriam &
continuatur cum praecedenci Nota.
Hae oratio debet dici cum praecedenti oratione proxima, scilicet Lamech, & cum
ista. Te queso hodie o Theos semper proferenda pro vna oratione. Si pro
memoria, in mane dicatur. Si pro alia efficacia vespere dicatur. Et sic dicatur in
vespertina hora, & in mane. Et si proferatur, vt dictum est, ista cum oratione
precedenti, prouocat memoriam & linguam impeditam soluit.
[25] Hic incipit ipsius orationis prologus.
Te quaeso Domine mi illumina conscientiam meam splendore luminis tui, &
illustra & confirma intellectum meum odore suauitatis spiritus tui, adorna animam
meam vt audiendo audiam, & audita memoriter teneam. Reforma Domine cor
meam: Instaura Deus sensem meum: Placa piissime memoriam: Aperi mititissime
animam meam: Tempera benignissime linguam meam per gloriosum & ineffabile
nomen tuum. Tu qui es fons bonitatis, & totius pietatis origo, habeas patientiam in
me & memoriam da mihi, & quod a te petii in oratione hac sancta largiaris mihi. Et
qui peccantem non statim iudicas, sed ad poenitentiam misertus expectas, te quaeso
indignus precor, vt facinorum meorum & peccatorum meorum scelera extinguas &
abste***rgas, & me petitione tanta per Angelorum tuorum virtutem de quibus
praefatus sum, dignum & efficacem esse facias, qui es Trinus DEUS. Amen.
[26] Hic ostendis alias efficacias, quas habet praedicta oratio.
Hane eandem orationem, & si de aliqua magna visione dubitaueris, quid
praetendere debeat vel si magnam visioni de periculo instanti siue de futuro videre
volueris, vel de quouis absente vis habere certitudinem, vespere ter dicas cum
summae venerationis obsequio, & videbis quod petieris.
[[27] Ecce quedam generalis precepta de omnibus daturi, quedam prelibanda

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arbitrati sumus in quibus quedam magna officia continentur.]1

{611} [28] Hic incipit oratio magnae virtutis, & est de cognitione artis physixae &
habes plures virtutes & efficacias.
Si vis habere cognitionem de alicuius aegritudine, utrum ad mortem vel ad vitam
sit infirmus. Si jacuerit languens, assistens coram eo dicas ter cum magna
reuerentia.
[29] Incipit oratio physicae artis.
Ihesus fili: Dominus incomprehensibilis: Ancor, Anacor, Anylos Zohorna,
Theodonos, helyotes phagor, Norizane, Corichito, Anosae, helse, Tonope
phagora.
Sequitur alia pars orationis.
Elleminator, Candones helosi, Tephagain, Tecendum, Thaones, Behelos,
Belhoros. Hocho phagan, Corphandonos, humane natus, & vos Eloytus phugora.
Angeli sancti adeste & aduertite & docete me vtrum talis conualescat an moriatur
de ista infirmitate.
[30a] Hoc acto, Tune interrogabis infirmum. Amice qualiter tu sentis te? & si
respondent tibi, bene conualescam, vel aliud tale simile, scias proculdubio, quod
ad vitam est infirmus. Si autem respondeat grauiter vel malesto, vel aliud simile,
scias proculdubio ipsum in proximomoriturum. Si autem responndeat necio
qualiter sto, scias similiter quod moritur, vel infirmitas in grauius mutabitur. Si
autem puer fuerit, qui & aetatem correspondendi non habuerit aut malor, languens
infirmus grauiter vel noluerit: post orationem dictam ter qd inueneris primo in
mente tua, de ipso futurum scias.
[30b] Porro si quis infirmitatem suam simulauerit vel celauerit, dicas eandem
orationem, & suggeret tibi virtus angelica veritatem. Si vero longinquus infirmus
fuerit, audito nomine eius, pro eo similiter dicas hanc orationem, & veniet tibi in
animo tuo, vtrum viuere debeat siue mori.
Si tu infirmi alicuius pulsum tetigeris, eadem oratione memorata, reuelabitur tibi,
cuiusmodi fuerit effectus infirmitatis. Si etiam alicuius mulieris praegnantis
pulsum tetigeris, oratione memorata, reuelabitur tibi vtrum sit masculus vel
foemina, qds concepit. Scias et illud miraculum non ex natura tua prouenire sed
sanctorum Angelorum, quorum agere hic pars officik est virtutem & naturam tibi
mirabiliter reuelare. Item si de virginitate alicuius dubitaueris eadem oratione
reuelata memorabitur tibi vtrum sit virgo vel corrupta.
[31] Hec est praesatio orationis efficacia quam efficaciam quam virtutem poteris
qualibet die probare.
De ista oratione ait Salomon, hanc nouam cognitionem {612} physicae a Deo accipi:
vnde vocauit & dixit hoc mandatum miraculum cum esse effieax fundamentum

1 Restored from Veronese (2007), p. 42.

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physiche scientiae, & quod contineat in se quantitatem & qualitatem scientiae totius
artis physice inqua re est mirabiliter magis speciosum quam horridum miraculum.
Tu aut quotiescunque legeris, non adverborum paucitatem, sed mysterii tanti
lauda virtutem. Ipse enim Salomon de artis Notoriae subtilitate diuini auxilii
mirabili libertate extorsit: Scilicet quia grande quoddam proponimus videlicet tot
& tanta sub tarn speciosa breuitate constringere naturalium arbitror esse aliquod
generale prohemium in tarn subtilis & excellentis operis ordinatione proponi, vt
magic animus auditoris super haec confortetur & conualescat.
[32a] Hine dicitur qualiter vnaquaeque nota vnius cuiusque artis suum habet
exercere officium, & notae vnius artis ad aliam artem sciendam non prosunt, &
sciendum est, quod omnes figurae suas proprias habent orationes.
Differamus ergo pro possibilitatis nostrae viribus notoriae artis facultatem, & quod
naturalium est, ad maiora artis accedamus. Salomon etenim artis Notoriae magnus
compositor, diuersarum artium sub ipsa contentarum Magister quidem maximus.
Artem ipsam id circo notoriam appellauit, eo quod esset ars artium & scientia
scientiarum, que omnes artes liberales & mechanica: & exceptiuas in se
comprehendit: & quae in caeteris artibus longis & grauibus loquutionibus nec non
prolixis & fastidiosis librorum voluminibus per maximi temporis spacium, quibus
ingenioso comprehendunt cum paucis verbis & scriptis paruissimis quo suis
imperitos & duros, per breue spacium temporis mirabili & inaudita verborum ac
nominum virtute reddit cruditos.
[32b] Nos ergo quibus tanta facultas a summi creatoris affluent! gratia ratione
scripture scientiarum concessa tantum munus & tarn egregium donum
competenter recipimus. Nam cum artes singulae notas sibi dispositas & praenotatas
habeant cum figuris, & cum nota vnius cuiusque artis suum non habuerit
transscendendi officium, ad aliam artem scientiam notae vnius artis non prosunt
nec valent: & quia aliquantulum hoc est difficile, in hoc tractu paruulo quod
paaeludium ad ipsum corpus artis dicitur. De singulis ipsius Notis singulatim &
illud quod magis necessarium est ad diuersarum scripturarum scientias
acquirendas diuinitus exploremus.
{613} Hie ponit quoddam speciale praeceptum.
[33] Illud est nobis necessarium necessario & posteris nostris idoneum arbitramur
& vtile, vt quibusdam compendiosis tractatibus prolixa & magna scripturarum
volumina cognoscamus: Quoa vt leuiter fieri possit de libris antiquissimis tribus,
qui a Salomone compositi sunt diligentissime inquiramus. In quorum primo illud
primum & speciale intelligendum est, qui oratione praemissa ante secundum
capitulum in omni sermone longo vtendum est, principium cuius orationis est
Assay. & competenti tempore verba orationis dicantur. Subsequens autem pars
orationis tunc precipue dicenda est, quando ad cognitionem scripturarum
volumina reuoluendo notam inspexeris. Tunc etiam dicenda est ipsa oratio,
quando grauem scientiam tibi antea inauditam, subito illam tibi propositam, &
lucide & plenarie enucleare & proponere volueris: ipso etiam tempore eandem
orationem dices, quando tibi aliquod importunum, aliquod graue dixerit, quod tue

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facultatis non sit exponere, eandem orationem commemorabis. Ista est oration de
qua locuti sumus, & est mirabilis oratio, cuius pars prima involumine de
magnitudine qualitatis exponitur.
[34] Incipit Oratio.
Lamed, Rogum, Ragia, Ragium, Ragiomal, Agalad, Eradioch, Anchovionos,
lochen, saza, ya, manichel, mamacuo, lephoa, Bozaco, Cogemal, Salayel,
ytsunanu, azaroch, beyestar, amak, de magnitudine ad operationem.
[35] Ista oratio continetur in loco secundo primae notae generalis tractatus de omni
scriptura. Cuius expositionis partem de magnitudine qualitatis artis eiusdem satis
explanauimus: sed ne prorsus ipsius sacramentalis intellectus admirans
mysterium rudishaberetur auditor, hoc sciat certissi, vel nihil dubitans de verbis
grecis ipsius orationis supradicte esse principium expositionis euis in latino.
[36] Incipit Oratio.
Memoria irreprehensibilis, sapientia incontradicibilis, efficacia incom-mutabilis
aeterni consilii angelos complectetur cor meum dextra tua, adimpleat conscientiam
mean memoria tua, & odor vnguentorum tuorum, dulcedo gratiae tuae muniat
mentem meum splendore Spiritus sancti, & claritate, qua Angeli faciem tuam cum
omnibus coeli virtutibus intueri sanctam sine fine desiderant. Sapientia qua omnia
reparasti: {614} Intelligentia qua omnia informasti, beatitudinis perseuerantia qua
Angelos restituisti: Dilectio, qua homines post lapsum ad coelestia traxisti,
Doctrina qua Adam omnem scientiam docere dignatus es. Informa, reple, instrue,
instaura, corrige, & refice me vt fiam nouus in mandatis tuis intelligendis & in
suscipienda scientia animae & corporis mei, & omnium fidelium credentium in
nomine tuo, quod est benedictum in secula seculorum.
[37] Hic est etiam particula expositionis praefatae orationis, quam vnusquisque
doctorum, qui in hac arte asseruisse legitur reliquit inexpositum. Scias ad eius
expositionem nequaquam humanam posse sufficere facultatem.
[38] Haec etiam oratio a Salomone Gemma coronae Domini appellatur. In periculo,
inquit, ignis, terrae, bestiarum, ea siquidem prodest cum fide dicta credentia.
Allatam enim fuiste ab vno quatuor Angelorum perhibetur, quibus datum est
nocere & prodesse terrae & mari & arboribus. Ipsius etiam orationis exemplar libri
florum doctrinae coelestis appellauit. Glorificando enim Salomon in hoc Deum,
quod ad Theologiam pro nutu diuino & eius mysterio atque omnipotentis
nobilitatis inspirauit. Et inspiciens quasdam orationes ipsam in nocte sacrificii
maioris Domino Deo largiente, inter alias transmissas eiusdem artis notoriae
conuenienter collocauit, quae sanctae & dignae sunt: atque reuerendi mysterii sunt.
Ipsis quidem non de Theologia errantes omisere gentiles, quas Salomon signum
sacri mysterii Dei angelo (alia) praecedente vocauit hoc etiam est opplementum
dignitatis nostrae & salutis humanae, & quod in eis continetur.
[39] Prima oratio ex istis de quibus loquimur spiritualis operatur ad
Theologiam, & ipsius conseruat memoriam.

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Istae etiam orationes sunt, in quibus magnam potest nostra salus habere efficaciam.
Quarum prima oratio Spiritualis ad Theologiam cognoscendam, & ipsius
perseueranter habetur memoria, id circo ipsum signum gratiae Dei Salomon
praecepit appellari. Gratia enim Dei est, vt inquit Ecclesiastes, spiritualis in verbis
quae inspirauit mihi, vt disputarem de omni ligno libani vsque ad Isopem, quae
egreditur de patiete.
[40] Assignatio temporis scilicet in qua lunatione orationes istae proferri debent.
Oration in prima Luna debet proferri semel, & in tertia ter, & in sexta sexies, & in
nona nonies, in duodecuma duodecies, in decima septima decemsepties, & in
decima octaua totidem. In vicesima {615} sexta totidem, In 29. Totidem, In 30
totidem. Ipsa enim oratio tantae virtutis, tantae efficaciae est vt in die, qua ipsam
dixeris, determinate patre tanta cum in eadem die virtus scientiae Theologiae
adaugebitur, vt si volueris vix de ipsa poteris reticere: Et si alias imperitus sueris, a
sociis vel maioribus vel subditis vel similibus visus, & ab eisdem & a reliquis ita
scire videberis. Sub intra studium Theologiae, & audias lectiones per aliquot
menses, vt omne dubium de te excutiatur, ab illis qui te iuta scire viderint.
Veruntamen in ilia die qua dixeris earn, caste viuas, & summo mane earn dicas.
[41] Attulit istam orationem subsequentem Salomone testante, Angelus propositus
tonittuo, qui in conspectu Domino semper assistit, cui non est paufirius, eius
mysteriym sacrosanctum est & efficacius, vt cum earn orationem semel legeris, non
amplius dici oportet: eo quod promoueat Spiritus coelestes ad aliquid magnum
peragendum.
[42] De eadem oratione dicit, quod tantum est eius mysterium, quod etiam spiritus
coelestes promoueat ad aliquid magnum peragendum diuina permittente potentia:
Habet etiam in sui mysterii largitorem efficacem vt linguam & corpus ipsius
proferentis tanta inspiratione exaltet vt quasi nouum quid et magnum mysterium
intellexiste cognoscat.
[43] Hic autem est orationis principium, in qua tanta efficacia est vt diximus, &
cum magna deuotione opus earn legi.
Achacham yhe, chelychem, agzyraztor, yegor, &c.
[44] Istud est principium praefatä orationis, cuius partes sunt quatuor. Sed de
principium aliud per se dicendum est, nec non de caeteris quatuor partibus
singulatim: praeterea inter principium & ipsas orationes quae sunt quatuor istam
competentem facimus diuisionem.
[45] Hoc enim quod de principio dicendum est singulariter. Et ista oratio in partes
4. diuidenda est, & eius dicta prima parte, id est, principium antequam pars alia
ipsius orationis conpleatur, ista nomina graeca sequentia proferenda sunt. Ista est
diuisio istarum orationum, [46] hielma, helma, hemna &c. [47] Deus Pater, Deus
Filius, Deus sancte spiritus, orationem confirma & intellectum meum & memoriam
ad suscipiendam, ad cognoscendam, ad retinendam omnium scripturarum
bonarum scientiam, eloquentiam & earum bonam perseuerantiam animi.

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[48] Istud est principium praefatae orationis, quae sicut diximus, dici debet
secundum prolationes & secundum constitutiones ipsius ob nostrae memoriae
obliuionem recitari habet, & secundum {616} exercitium ingenii, & secundum
sanctitatem vitae nostrae, & in ea est tale mysterium, & talis efficacia virtutis.
[49] Sequitur alia subtilis oratio, in qua continetur tarn sacramentale mysterium, &
in qua omnis scientia perfecta mirabiliter completur. De ista enim voluit Deus vt
sciremus quae ccelestia, quae terrena, & quilibet secundum ccelestia coelestis, &
secundum terrena terrenus efficitur. Quia Dominus dixit: Imperfectum viderunt
oculi mei, & in libro tuo omnes scribuntur dies, formabuntur & nemo in eis &c. Sic
enim habitandum est in praeceptis Dei. Non enum possumus omnia scribere, vt Sol
habear eundem cursum quern primo habuit & confirmetur ordo noster. Omnis
enim scriptura, quaecunque a Deo non est, legenda non est. Voluit autem ipse
Deus diuidere omnia, & hoc est quomodo ista sunt agenda ante secundam partem,
quae tarn gloriosas & excellentes orationum consecrationes continet, & quae
consecratam partem in ccelis habere definitur vt nequaquam ilia linguis humanis
possit definiri.
[50] Istud est principium secundae partis istius orationis quae tandae est
efficaciae, sicut dictum est superius.
Aglaros Theomiros. Thomitos &c.
[51] Ista oratio praecedens est secunda pars orationis, de qua aliud singulariter
dicendum est. Vnde se istam orationem diceris prima parte eius commemorata,
istam orationem sequentem dicas & praeuideas praecepta quae sunt in ea.
Deus omnium qui es Deus mens, qui in principio creasti omnia ex nihilo, Cum
Spiritu tuo omnia reformasti, comple, restaura, conscientiam meam, & sana
intellectum meam, vt glorificeme per omnia opera cogitationum mearum, &
verborum meorum.
[52] Et postquam istam orationem predictam dixeris, facto interuallo quasi
dimidiae hore, dicas istam tertiam partem orationis quae sequitur:
[52a] Megal, legal, Chariotos &c.
[53] Hac parte orationis dicta tertia, praemeditaberis tercum de scripturis quas scire
volueris, & deinde dices istam orationem.
Veritas, Lux, Via omnium creaturarum: luste Deus viuifica me & intellectum
meum confirma, & restaura conscientiam meam sicut regi Salomon! restaurasti,
Amen.
[[54] Hiis dictis quartam partam orationis dices que est ista.
Hec est quarta pars orationis prefate, id est Hely.
Latur, Bael, Zedac, Azaras, Jezonal, Comaja, Ysaray, Jehemiehel, Mihinniaub,
Zelmeal, Jetrozaal, Molos, Microtamos, amin.]1

1 Restored from Veronese (2007), p. 51.

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[55] Partibus enim istis praememoratis secundum quod definitum est, addes istam
orationem sequentem, istis orationibus dictis, {617} quartam partem orationis
dicas: Et est ista. Amasiel, Danyi, hayr &c.
Ego in conspectu tuo Domine Deus meus, in cuius nutu sunt omnia nuda, &
aperta, haec loquor, vt ablato infidelitatis errore, adiu[u]et Spiritus tuus omnia
viuificans, omnem incredulitatem meam. Amen.
[56] Qualiter orationes latinae non exponuntur a verbis orationum.
Sciendum est ergo, quod illa tota oratio inexposita remansit, propterea quia tantae
subtilitatis est eius zeuma, ornatus de lingua Chaldaea Haebraea tarn subtili &
admirabili elimatione decorum, vt nullatenus possit in me transferri liberae
lucutionis officium. Verba latina quae subiunguntur partibus orationis praefatae, ea
verba sunt quae de chaldaeo in nostro transferri potueunt sermone: non tarnen de
tota oratione sunt, sed singularium partium orationis praefatae sunt capitula ad
orationem pertinentia.
[57] Hie loquitur de efficacia omnium istarum.
Ipsa enim oratio tanti mysterii est vt sicut rege Salomone testante dum ipsam
orationem quidam familiaris eius domus libro hoc a casu inuento, nimium
crapulatus vino post accessum mulieris praesumptuose legeret, nondum eius parte
finita, elinguis totus, expers memoria, caecus & mutus vsque ad horam mortis
factus est. In hora autem mortis eius fertur deuisse: * quatuor angelos, quos
offender at in tam sacro mysterio praesumptuose legendo; vnum memorie, alterum
linguae, tertium oculorum, quartum aurium custodes & flagellatotes quotidie
habuisse. Quo testimonio ipsa oratio eidem regi Salomoni omnino commendabilis
facta est: Tantum enim est ipsius mysterium. Praecipimus ergo vt quicunque earn
legere voluerit, non praesumptuose earn dicat. In praesumptione enim peccatum
est: vnde sicut praeceptum est ita dicatur ista oratio.
[58] DE ARTIS ERGO PR/ECEPTIS generalibus, de omnium artium cognitione
necessarium arbitrati sumus de singularibus praeceptis singularium artium aliquid
definire. Sed quia de cursu Lunae aliquid praelibando tetigimus: necesse est vt de
eius cursu quid significet exponamus. Luna 12. signa habet in mense vno, Sol vero
12. signa in anno: & spiritus vno eodemque tempore eodemque termino inspirat,
foecunda, illustrat. {618} Vnde dictum est: vt Luna & Sol cursum suum habent,
subauditur, quia prius habebant. Sed quia in hebraeo istud deficit, in latino etiam
debere deficere arbitramur. Da ista oratione praecedenti, etiam de suis tribus
partibus satis dictum est.
[59] In isto capitulo ostendit efficaciam orationis subsequentis, quae specialis est
ad facundiam.
Haec oratio sancta quae sequitur, est quidem oratio specialiter facta ad facundiam.
Cum autem caeterae omnes de pluribus habeant efficaciam, ipsa est enim quoddam
speciale mysterium in se continens. Er cum vna de generalibus est ostendens in se
quaedam generalia praecepta omnibus atribus communia. Sic enim Deus instituit
animam in corpore, dicens, hanc vobis do vt ipsam obseruetis & custodiatis legem

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Domini. Et qui sunt isti, in conspectu Dei semper assistant, & vident saluatorem
facie ad faciem noctu dieque. Item de eadem oratione: Haec est inquam illa oratio
gloriosissima mystica & intelligibilis, continens in se mysteria, in quibus mens &
conscientia & lingua succedit. Ipsa enim mysteria, tanta vt homo seruet ea
secundum voluntatem eius qui praeuidet omnia in conspectu suo condita. Ipsa
enim est oratio, cuius tarn gloriosum & sacramentale est mysterium. De ipsa
oratione nemo post crapulam nimiam vel luxuriam aliquid dicere praesumat, nec
etiam ieiunus nisi in magna veneratione & discretione earn proferat. Vnde Salomon
inquit: Nemo de hac oratione, nisi suis temporibus determinatis aliquid tractare
praesumat: nisi illius orationis facta esset commemoratio eoram aliquo praesule pro
aliquo negocio competenti: ipsa oratio mirabiliter est salubris super hoc.
[60] De ipsa autem oratione, cuius causa tarn salubris est, vt eius interuentione
effectus, lectus est ille Psalmus, de quo dictum est. Venite post me & faciam vos
fieri piscatores hominum, sicut dixit & fecit. Quomodo ipsa oratio tantae efficaciae,
tantique mysterii sit non ex nostra facultate scimus: Neque etiam quando
discipulis suis Dominus dixit, hoc scire potuimus nec possumus. Ipsa enim oratio
tanti mysterii est. Quia diximus vt ipsa contineatur nomen Domini magnum, quod
se scire multi mentiti sunt: ita quod lesu reperto in templo, multa mirabilia feciste
narrat. Quod verum est, sed quidcunque fecit, mentiti sunt, & abscondeunt
veritatem, vt nemo illorum nec aliquis post eos illud nuderet proferre, ad quod
{619} antequam perueniatur, aliquid extra dicendum arbitramur.
[61] In isto capitulo assignat tempus & modum qualiter ista oratio proferatur.
Ipsa enim oratio est vna generalium & prima singularium de vtraque in se
continens. Et cum specialiter de facundia facultatem in se habeat & virtutem.
Intelligendum quid, quo tempore, qua ordinatione, quibus diebus sit proferenda.
Omni tempore potest proferri in Luna decimaquarts vt supra. Ordination vero
istius orationis, vt in singulis diebus quibus proferatur, mane diluculo dicatur,
antequam contaminetur homo, tarnen praecipue orationes praedictae proferantur.
Tali autem modo oratio dicatur in simul absque diuisione: & tarnen diuisiones in
eadem sint, non quod oratio diuidatur in se, sed quia tantum nomen & tarn
gloriosum per partes scribatur, & secundum partes singulas ipsius nominis tanti &
tarn gloriosi per terminos diuidatur, & dicatur vt ipsum excellentissimum nomen
non simul totum, propter fragilitatem nostram proferatur. Nec ipsius nominis
elementa vel syllabae cum in oratione sint positae, cognosci vel vbi sint positae,
cognoscendum non est, ne aliquis ea praesumptuose proferat, siue per tentationem
aliquid de ipsa oratione ageret, quod agendum non esset.
[[62] Hec enim est oratio simplex facundie quam Salomon et posteri ejus in istis
periti Lengemath, id est renovationem vel expedimentum linguarum
appelaverunt. Hoc est principium orationis usque ad finem.
Oratio magne virtutis generalis ad omnes artes.
Gernot, Geel, Zabael, Gezezai, Azagra, Gezomai, Alla, Athanaton, Agyel, Azamiel,
Athanayos, Ezomai, Cealragan, Ezenton, Gotha, Gezerebgal, Ana biac, Zadachial,

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 Ars Notoria

Ezeden, Pellicitaros, Thyethis, Cremodios, Ziim, Gezeomiel, Ezerum, Zolrol,

Zarabiel, Samil.]1
[63] Nemo impeditus criminalibus ansus sit proferre illam orationem.
Ecce res conformata apud Sapientes istius seculi, quae vt diximus cum summa
industria proferenda est. Omni quidem die proferri potest, quo peccatis
criminalibus impeditus non fueris die vero quo criminalibus fueris impeditus in
corde tuo poteris earn memorare, vt si bene volueris esse facundus, illam repetas
ter. Et si malae rei fuerit siue aliquod magnum negocium emerget tibi, semel
repetas orationem, & adhibebitur tibi facundia, quam necesse fuerit, & si earn bis
repetiueris poterit tibi multitudo eloquentiae obesie tantum est sacramentum
orationis ipsius. Aliud etiam tertium quod in ipsa oratione considerandum est.
Ipsam videlicet orationem ita debere pronunciari, vt confessio cordis & oris
praecedat: pronuncietur autem summo mane, & post ipsam orationem, ista
sequens oratio latina.
{620} [64] Iste est prologus siue expositio praecedentis orationis quae simul
debent proferri.
Omnipotens aeterne Deus, & misericors Pater ante omnia secula benedicte, qui
nobis aeternae Deus & irreprehensibilis & impermutabilis remedium salutare
contulisti, qui propter omnipotentiam maiestatis tuae nobis facultatem loquendi &
discendi concessisti, caeteris animalibus negatam: Cuius dispositio in sui
providentia non fallitur, Cuius etiam natura aeterna est & consubstantialis Deo, qui
exaltatus est super ccelos. In quo tota Deitas corporaliter habitat: Deprecor
maiestatem tuam & omnipotentiam glorifico, & aeternitatis tuae virtutem ac
magnificentiam tuam summam & aeternam & vna intentione imploratione
flagitans, deposco te Deus meus Sapientia inaestimabilem vitae Angelorum. Deus
Spiritus sanctus incomprehensibilis, in cuius conspectu chorus Angelorum tuorum
consistit, deprecor & flagito, vt per sanctum & gloriosum nomen tuum, & per
conspectum Angelorum tuorum, & principatus ccelestes: mihi GRATIAM tuam
dones, & mihi subuenias, & facunditatem mihi tribuas & intellectus tui memoriam
& perseuerantiam concedas: Qui viuis & regnas aeternaliter vnus aeternus Deus,
per omnia secula seculorum, in conspectu omnium coelestium virtutum, nunc &
semper & vbique, Amen.
[65] Ista autem oratione sic finita & istis additis ex necessitate secundum omnes
ponendum est quoddam mysterium, ita vt aliquam taciturnitatem habeas finita
oratione latina, & post taciturnitatem sc: interuallum aliquod serua incipias dicere
istam orationem sequentem. Semet Lamen &c.
[66] Ista, inquit Salomon, est orationum oratio, & experimentum Speciale, quo
omnia siue singularia siue generalia cognoscuntur plene, efficaciter & perfecte, &
inimemoriter tenentur.

1 Missing from Opera which just provides "Elmot, Schel, hemech, Zaba &c." restored
from Veronese (2007), p. 55.

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 Ars Notoria

[67] Postquam ergo ex ista oratione facundiam habueris, quam habere volueris,
parce tibi & noli proferre ea quae tibi lingua suggeret ac administrabit. Iste enim est
finis generalium praeceptorum, quae data sunt ad memoriam, facundiam,
intelligentiam adipiscendam. Ista omnia quae praelibata sunt, generalium
praeceptorum, data sunt signa vt de generalibus praeceptis & intelligendis
adipiscendis habeatur facultas. Quae autem dienceps sunt ipsa spiritualia Salomon
appellauit, & eae artes singulae singulas habent potestates.
[68] Postquam vero de generalibus praeceptis data est sufficiens {644 621} definitio,
& orationes positae sunt & authoritates orationum in quibus designantur, quid de
singulis orationibus agendum sit, quia de singulis artibus tractaturi sumus
singulatim, necesse est, vt quod ipse conditor & magister noster in exemplum
posuit nos etiam exequamur. Ait enim Salomon antequam ad artium notas
singulas & orationes praenotatas accedatur, praeludium dicere oportet, quod estr
prohemium siue prologus.
[69] Qualiter singuläres artes suas proprias habent notas.
Vt ad singula vero singularium artium praecepta antequam perueniamus,
necessarium est, vt quomodo singuläres artes singulas habeant notas, disseramus.
[Semot, Lamen, Gezeil, Samatial, Maaziol, Ezolca, Zinegos, Alzamiol, Memicros,
Lemeloi, Zemenai, Zettronaum, Labdenadon, I, Jotha, Vau, Ziet, Omos, E,
Elintomai, o. a. ot, Alle, Semanai, Nataim, Jezaol, Magal, Jecramagai, Sennasadar,
Jezama, Faffa, Jobat, Ammial, Zanagromos, Negorobalim, Longai, Izeremelion,
Sicroze, Gramaltheoneos, Carmelos, Samiel, Gezesiot, Semornail, amin.
[70] Narratio de precedenti oratione et permissio de artibus discendis.
Ista, inquid rex Salomon, est orationum oratio et experimentum speciale, quo
omnia sive singularia sive generalia plene, perfecte, efficaciter audiantur et
cognoscantur et memoriter teneatur atque ad singularium artium precepta
antequam perveniamus, necesse est ut quomodo singule artes singulas habeant
notas edisseramus.]1
[71] De scientiis liberalibus, & aliis quae possunt haberi per istam artem.
Artes vero liberales sunt septem, & septem exceptiuae, & septem mechanicae.
Septem exceptiuae sub septem liberalibus continentur. Quae autem liberales
septem sunt, manifestum est, de quibus primo agendum est. Mechanicae autem
sunt istaae, quae adulterinae vocantur, Hydomantia, Pyromantia, Nigromantia,
Chiromantia, Geomantia, Geonegia, quae continentur sub Astronomia Neonegia.
Hydromantia est scientia de aqua, eo quod in conspectu aquae stantis vel currentis
quaedam scientia magistrorum experimentorum habeatur. Pyromantia est flamma
discurrente vel circumfluente, per quam antiqui scientiam experimentorum,
philosophi magnam efficaciam comprehendebant. Nigromantia est, quod
sacrificium animalium mortuorum, quo sine peccato quodam antiqui magna
experimenta solebant notare, magnam scientiam vitae consueuerunt

1 Section 69 and 70 missing from Opus Omnia. Restored from Veronese (2007), pp. 57-58.
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 Ars Notoria

comprehendere. Vnde Salomon praecepit, vt septem libros artis eiusdem possint

legere sine peccato. Duos vero quod sacrilegium reputaret, & duo libri eiusdem
artis sine peccato non posse legi. Quia vero de ipsius artis satis modo dictum est,
ad caetera diuertamur.
[72] De scientiis liberalibus, & aliis quae possunt habere per hanc artem.
Artes vero liberales sunt septem, quas sine peccato potest vnusquisque discere ac
legere. Est enim Philosophia magna {622} in se continens & profunda mysteria. Iste
omnes artes praefatae mirabiliter cognoscuntur.
[73a] Dicit quot notas habent primae tres artes liberales.
Grammatica enim tantum tres notas habet: Dialectica vero duas, Rhetorica
quatuor, & singulae cum orationibus apertis, & distinctis. Sed quare Grammatica
tres, Dialectica duas, Rhetorica quatuor habet: ipse Rege Salomone testante &
affirmante illud cognouimus. Ait enim: Et ego admirans in corde meo & reuoluens,
quae, a quibus, & vnde esset ista scientia, Angelus vnum librum attulit: in quo
figurae & orationes erant scriptae, & dimisit mihi singularum artium notas &
orationes distince & aperte, & dixit mihi de singulis, quantum necesse fuit. Et
explanabat mihi sicut puero per clementa quaedam ad artes magno temporis
spacio, prolixas, vt per preue spacium temporis artes eas haberem, dicens mihi: ita
tu ad omnem scientiam promoueberis per per istarum incrementa virtutum.
[73b] [Interrogatio Salomonis.] Et cum ego postularum, Domine mi vnde hoc, &
qualiter?
Respondit Angelus: Magnum Domini est hoc sacramentum, & eius voluntate
scriptum hoc per Spiritus sancti virtutem. Quod est inspirans, foecundans, &
illustrans omnem cognitionem. Et rursus Angelus inquit: Notas istas cum
orationibus suis secundum tempora determinata & constituta respice, & serua
tempora sicut statuta sunt a Deo, & non aliter. His dictis ostendit Regi Salomoni
librum in quo scriptum erat, qluibus temporibus he omnia proferenda essent,
apertissime & secundu Visionum Domini demonstrauit. Quibus enim auditis &
visis, & secundum verbum Angeli a Domino illatum, in omnibus istis operatus
sum, & ita narrat Salomon sibi euenisse. Nos autem post eum venientes,
authoritatem eius prosecuti sumus, & quantum possumus, ea quae nobis reliquit,
pro posse obseruamus.
[74] Hic ostendit Salomon qualiter Angelus ostendit sibi diuisim quare
Grammatica tres figuras habet.
Ecce quare ars Grammatica habet tantum modo tres notas in libro Salomonis
Gemelioth, id est, in libro artes Dei, quae est ars omnium aliarum scientiarum, &
aliarum artium, legimus, Ait enim Salomon: Et cum ab Angelo Dei singulatim cum
terrore inquirerem dicens: Domine, & vnde hoc mihi praestabitur, vt plenarie sciam
istam artem: Cur tot notulae competant illi arti, & tot isti, cum orationibus
determinatis & diuisis {623} ad ipsarum habendam efficaciam ascribantur. Angelus
vero respondisse legitur: Ista ars Grammatica ars liberalis dicitur, & tria habet
necessaria: ordinationem dictionum & temporum, & ipsis adiunctarum siue

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figurarum. Simplex & composita, & varia, & varia declinatio partium ad partes,
siue a partibus relatio, & congrua, & ordinata diuisio. Haec est ratio quare in
Grammatica tres notae appositae sunt, & sic placuit diuinae potentiae, vt per vnam
declinandi plena cognitio: per alteram omnium partium conueniens ordinatio
haberetur: per tertiam omnium partium simpliciter & composite conueniens &
continua diuisio habeatur.
[75] Ratio quare ars Dialecticae duas figuras habet tantummodo.
Dialectica vero, que est forma artium, & doctrinalis sermo dicitur, duo habet
necessaria, scilicet facundia, argumentandi, & prudenter respondendi. Duas ergo
notas altitudo prouidentiae diuinae & pietatis apposuit, vt per primam facunde
argumentandi, & per secundam industriam respondendi habeamus absque
ambiguitare. Propterea ergo Grammaticae tres, Dialecticae duas notas ascripsimus.
[76] Ratio quare ars Rhetoricae quatuor figuras habet.
Quare ergo Rhetorica quatuor notas habet, videamus. Quatuor enim in ea, vt ait
Salomoni Angelus Domini, sunt necessaria, scilicet: Ornatus locutionis continuus
& floridus: iudicium ordinatum competens & discretum: causarum siue officiorum
testimonium causantium & damnatorum, & emptorum & venditorum composita
dispositio: Artis eiusdem negotiorum facundia cum intellectu demonstratiuo. Arti
enim Rhetoricae id circo altitudo Dei notas quatuor cum orationibus suis sanctis &
gloriosis tanquam per manum Domini missis reuerenter apposuit, vt notae singulae
in arte praefata singulas habeant facultates, vt nota prima in arte eadem locutionem
continuam, competentem & floridum ornatum adhibeat. Secunda iudicia iusta &
iniusta, ordinata & inordinatam vera & falsa discernat. Tertia vt officia & causas
competenter discernat. Quarta vero, vt intellectum & facundiam, subtilitatem in
ipsius artis operibus omnibus, absque prolixitate distribuat.
Ecce de Grammatica, Logica, Rhetorica, quare singulae notae singularibus artibus
sic ponantur.
De caeteris autem artibus ipsarum notarum loco suo & tempore, sicut in libro
eiusdem Salomonis reperimus dispositionem.
{624} [77] Quibus temporibus, quibus horis qualiter notae trium artium
liberalium inspiciantur.
Ecce transeundum est, vt quibus temporibus, & quo statu: quomodo noae istarum
atrium inspiciendae sunt, & orationes earum proferendae, & artes ipsarum
adipiscendae sunt disseramus. Si rudis prorsus in arte Grammatica fueris, &
volueris habere eius cognitionem, & si tibi a Deo collatum fuerit: vt hoc opus
operum. In artem atrium possis habere firmum & subtilitatem: istud sciendum est,
& aliter facere non praesumas, quam tibi liber iste praecipit. Ipse enim liber sui tibi
magister, & ipsa ars sui tibi magistra erit.
[78a] Qualiter in Luna prima nota Grammatices inspiciantur.
Sic enim notae Grammatices inspiciendae sunt & orationes earum proferendae sunt.
Diebus igitur qua Luna fuerit prima, prima nota duodecies inspicienda est, & eius

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orationes vigesies & quater recitandae sunt, cum summae sanctitatis veneratione &
modico interuallo facto. Et singula inspectione notae orationes bis recitandae sunt,
& a peccatis summopere obseruandum. Sic agendum est a prima die Lunae vsque
ad quartam decimam: a decima quarta vsque ad decimam septimam. Prima nota &
secunda singulae vigesies inspiciendae, & orationes tricesies recitandae sunt
interuallo facto a decimo septimo die & quinto. Omnes tres notae singulis diebus
duodecies inspiciendae, & orationes vigesies recitandae sunt.
[78b] Ecce de notis Grammatice artis dictum est. Verum si aliquantulum legisti
libros eiusdem artis, & eius desideras habere perfectionem, ita facias sicut
praeceptum est. Verumtamen orationibus factis generalibus ad addendam
memoriam, facundiam, intelligentiam & earum perseuerantiam, cum his quae sunt
supra memoratis & recitatis suis temporibus & horis constitutis ne praetereundo
praeceptum vergas in peccatum. Veruntamen dum hoc feceris, caue tibi vt
secretum sit, & Deum tantum habeas inspectorem. His praefatis perueniendum ad
notas.
[79] Istis tractatibus finitis perueniendum est ad notitiam notarum.
Considerandum est vero, quo in principio inspectionis notarum omnium, prima
die ieiunandum est vsque ad vesperas, si potes, & si expectare non potes, assumat
sibi aliam horam. {615} Hoc est praeceptum, quod ex arte Grammaticae damus.
De notis Dialecticae.
De notis Dialecticae omnibus diebus proferri possunt nisi tantummodo in illis
diebus qui dicuntur. Notae autem quatuor Rhetoricae in illis diebus proferantur
quibus constitutum est, id est, omnibus, praeter tres dies mensis, scilicet Luna 11. &
17. & 19. Et propter hoc diebus illis eas proferri vetitum est cum orationibus, quia
illis diebus, ipso testante Salomone, omnium artium notae praeter ipsius artis
oblatae sunt. Ista praecepta sunt liberaliter obseruanda.
[80] Qualiter notae Dialecticae inspiciantur, & orationes earum proferantur.
Sciendum est, quod notae Dialecticae quater inspiciuntur, & orationes ipsarum ipsa
die vigesies recitandae sunt interuallis factis, & libris eiusdem artis ante oculos
positis. Libri autem Rhetoricae artis similiter ante oculos ponendi sunt, quando
notae eiusdem artis inspiciuntur, vt definitum est. Ista sunt sufficientia ad
cognitionem istarum trium artium.
[81] Qualiter cauendum est a peccatis.
Incipit prima nota Grammaticae artis, ad quam antequam perueniatur, aliquid
praelibandum est, vt haberi possit primae & secundae & tertiae notae cognitio. Et
scire debes quod in principio, in quo notae Grammaticae, siue Dialecticae, siue
Rhetoricae artis inspiciuntur. Necessarium est quidem cum summa intentione ab
omnibus criminalibus custodias.
Qualiter certa tempore debeant prouideri in inspectione notarum.
Ista est cognitio specialis & manifesta, qua notae artis Grammaticae dignoscuntur,

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quomodo proferri debeant, & quibus temporibus, & quali distinctione merito &
competenter manifestatur. Dictum est superius de prolatione & inspectione
notarum & orationum. Nunc vero aliquatenus est diuertendum, quia licet de
temporibus in parte actum sit, tarnen magis plene arbitror esse agendum.
[147] Qualiter diuersi menses quaeruntur in inspectione notarum.
Diximus superius de terminis istius artis, quibus orationes sunt legendae & notae
inspiciendae. Nunc restat decere, qualiter praedictae orationes lunationes
inspiciantur & inueniantur. Sed deinceps videndum est, ne forte aliqua sit
deceptio: tarnen in praedicta notaui lunationes in quibus debeant notae inspici, &
orationes proferri.
{626} Sed aliqui sunt menses, quorum lunatio magis vtilis est ad incipiendum,
quam aliorum. Vnde in signo igneo, cu volueris Theologiam vel Astronomiam
operari. Si vero Grammaticam vel Logicam sit in H vel in Si vero Musicam vel
Physicam sit in ö vel Si vero Rhetoricam, vel Philosophiam, vel Arithmeticam,
vel Geometriam, sit in H vel <S>: Pro Mathematica sit in b vel in H. Et sic dies sunt
formati & liberi a malis, & in bono loco. Gaudent etiam omnes coelestes potestates,
& Angelorum chorus in ipsis lunationibus, & diebus istis determinatis.
[Explicit Ars notoria Salomonis, Machinei et Euclidis.]1

Hie fit mentio de notis omnium artium.

[132] Ego Apollonius authoritatem Salomonis assecutus, cuius opus &
obseruantias quascunque custodire disposui, sicut dictum est de tribus notis artis
Grammaticae, & ita obseruabo tempora, sicut obseruanda sunt. Sed sciendum est,
orationes earum nondum esse conscriptas: sed in sequenti opere de ipsis plenius
demonstrandum est: sed tarnen que in notis illis tribus scripta sunt, non sunt
orationes, sed definitiones notarum earum per ipsas scriptas, Graecas, Hebraeas, &
Chaldaeas: Et caetera quae in nobis apprehenduntur. Ista tarnen scripta quae a
Latinis non intelliguntur, non possunt in illo die proferri, nec debent, nisi diebus
ilis quibus constitutum est a Rege Salomone, & in illis diebus, quibus notae
inspiciuntur: sed illis diebus semper recitanda sunt illa sacramenta scripta: &
tarnen quae Latina sunt ipsis diebus quibus notae non inspiciuntur, proferri
possunt.
[133] Notae autem artis Dialecticae duae sunt: sed quibus temporibus proferri
debeant, in parte dictum est, postea autem de ipsis certius dicetur. Ecce ad reliqua
diuertendum est. Sciendum vero arbitramur ea quae in notis artis Dialecticae
scripta sunt, omnibus diebus proferri possunt, quibus notae ipsius artis
inspiciuntur.
[133a] Sciendum est etiam, psa scripta Latina secundum antiquitatem Hebraeorum
posse proferri, nisi his diebus, quibus diximus. Sciendum est tarnen, ipsas nullo

1 Missing from Opera Omnia.

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 Ars Notoria

modo posse pronunciari, nisi confessione praecedente. Ista tarnen consideranda

sunt absque occasione aliqua. Ista sicut dicta sunt, ita fiant omnia. Salomon enim
ait: Vide vt omnia ista praecepta, sicut data sunt, ita facias: sed de caeteris quae
sequuntur, aliter agendum est. Cum enim videris Dialecticae {627} notam primam,
signum quod in prima nota fuerit, in corde tuo repete, & sic in singulis notis
singularum artium, praeter illas artes, de quibus definitio dabitur.
Definitiones singularum artium, & earum notarum.
[134] Dabimus enim definitiones de singulis artibus & notis earum, sicut est in
libro Salomonis. Geometria vnam notam habet, Arithmetica vnam & semis.
Philosophia tarnen cum artibus suis & scientiis sub se continentes, septem species
habet. Theologia vero & Astronomia cum omnibus scientiis sub se continentes
septem notas habet, sed illae tarnen magis periculosae & graues sunt, non id circo
graues, quod pronuncientur grauer, sed quia grauem habent efficaciam. Musica
vero vnam notam habet. Physica vero vnam notam quoque, singula tantummodo
in diebus determinatis proferenda sunt. Sciendum vero est in omnibus diebus,
quibus notas Theologiae videris, vel Philosophiae & atrium sub ipsis contentarum,
nullatenus rideas, neque ludum habeas: quia Rex Salomon, dum notarum
earundem inspiceret formas, forte plus solito crapulatus, iratus est ei Dei, & per
Angelum suum locutus est ei, dicens: quia despexisti sacramentum meum, illudens
& contaminans, auferam partem regni tui, & comminuam filios tuos ante dies suos:
& addidit Angelus, introitum templi sui prohibet tibi Dominus dieb. 80. Vt
secundum peccatum tuum poenitentiam facias. Et cum Salomon fieret, &
misericordiam peteret a Domino, Respondit Angelus, prolongati sunt dies tui,
veruntamen super filios tuos venient multa mala & innumerabiles iniquitates, &
corrumpentur a siperueniente iniquitate.

[82] Ecce ad principium notae sic visis generalibus inspiciantur specialia.

Verbum Salomonis est ad impetrationem ad ad Deum de promissis ante notis
artium trium.
Oratio 1.
Ecce ad principium notae. Lux, veritas, vita via, iudex, misericordia, fortitudo,
patientia, conserua & iuua me & miserere mei. Amen.
[128] Oratio 2. Ista oration cum praecedenti debet dici ante primam notam
Grammaticae.
Domine sancte Pater, Omnipotens, aeterne Deus in cuius conspectu omnia sunt
invisibilium fundamenta creaturarum cuius oculi imperfectum meum viderunt,
cuius charitatis dulcedine plena est terra & coeli: Qui omnia vidisti {628} antequam
fiant, in cuius libro omnes formati sunt dies, & homines inscripti in eo: respice
hodie super famulum tuum tibi toto corde & tota mente subiectum per Spiritum
sanctum tuum confirma me, benedic, protege omnes actus meos in hac inspectione
seu repetitione & Constantia tuae visitationis me illustra.

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[129] Oration 3. Ista oration debet dici ante secundam notam Grammatice.
Respice Domine Deus clems pater omnium aeterne dispensator omnium virtutum,
operationes meas hodie considera: Tu es actuum hominum & angelorum
inspectoratque discretor, vt admirabilis gratia promissionis tuae in me dignetur
subitam adimplere virtutem & in me tantam efficaciam nomine tuo sancto &
magno operante infundas, tu qui laudem tuam in ore tuorum te diligentium
imponis & infundis, Amen.
[130] Oratio 4. Ista oratio proferatur ante tertiam notam Grammaticae.
Creator Adonay omnium visibilium creaturarum, Pater piissime, qui in
circumscripto lumine habitas aeternaliter & ante principium omnia inestabiliter
disponens atque gubernans: Aeternitatem tuam atque incomprehensibilem
pietatem verbis supplicantibus aggredior, vt huius sacramentalis atque mystici
operis in me perfectorum angelorum tuorum efficaciam & considerationem
clarescat. Atque per eorundem Angelorum sanctorum nomina in memoriam
habendam & sancta opera tua in me cum stabilitate, Amen.
Creator istam orationem proferas in principio inspectionis tertiae figurae artis
Grammaticae: & post istam orationem facto aliquo paruo interuallo.
[135] [Oratio] 5. Ista oration debet dici ante primam notam artis Dialecticae.
Sancte Deus pater & pie indissolubilis augmentator, qui coelum et terram, mare &
abyssos & omnia quae in eis sunt sicut stabiliri voluisti. In cuius conspectu omnis
ratio & sermo subsistit. Per hec sacramenta pretiosa Angelorum tuorum da mihi
que desidero & credo artis huius absque malignitatis intentione scientiam. Amen.
[136] (Istam orationem latinam profer in principio inspectionis prime figurae artis
Dialectice, et post istam orationem proferas in continenti cum aliquo interuallo
illas orationes quae scribuntur inter primam figuram)
[137] [Oratio] 6. Ista oration debet dici ante secundam notam Dialectice.
Heloy, Clementissime creatir, inspirator, reformator omnium diuinarum
voluntatum approbator, ordinatorque malorum, deprecationem gloriosus intende
& mentem meam respice benignus, vt quid humilitate deprecor sicut ante
promissionem {629} mihi de tuae Magisterie largitate concedas, Amen.
(Ista oratio debet pronunciari ante secundam figuram artis Dialectice, &
priusquam proferantur alie orationes quae scribuntur circa ipsam secundam
figuram.
[138] [Oratio] 7. Ista oratio debet proferri ante primam notam Rhetorice.
Omnipotens & misericors pater omnium creaturarum ordinator. Iudex eterne, Rex
regum & Domine dominantium qui sanctis tuis eloquentiam scientiam conferre
dignatus es mirabiliter: qui omnia djiudicas atque discernis, illumina hodie cor
meum fulgore claritatis tue, vt intelligam & cognoscam que in ista arte
considerantur exopto. Amen.

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(Ista enim oratio cum alia oratione subsequent! Hanazay &c. debet pronunciari
ante primam figuram artis Rhetoricae, & quamuis diuidantur per duas partes
orationis, vna & eadem oratio est: sed propter hoc diuiduntur, vt in proferendo eas
fiat aliquod modicum interuallum, & debet proferri priusquam orationes scripte in
figura proferantur.
Hanazay, Sazhaon hubi, sene, hay, ginbar Ronail, Selmora, hyramay, lohal
ysazamael Amathomatois, yaboageyors, Sozomcrat, Ampho Deldenos, geroch,
Agalos, Meihatagiel Secamai, Saheleton Mechogrisces, Lerirencrhon.
[139] [Oratio] 8. Ista oratio proferatur ante secundam notam artis Rhetorice.
Vnus magnus & mirabilis eterne Deus, eterni consilii angele dispositor omnium
virtutum & ordinator bonorum omnium; adorna hodie intelligentiam meam &
multiplica in me rationem discendi & cognoscendi, qua in proferendis nominib.
Omnium coelestium angelorum contulisti & candem scientiam secundum
promissionem mihi concede, & huius artis discretionem Amen.
[140] (Ista oratio cum reliquis duab. Sequentibus orationibus, videlicet Vision, &c.
& alia orationem videlicet, Azelechias, &c. debent in principio secundae figurae
artis Rhetoricae pronunciari, & priusquam aliae orationes quae scribuntur infra
ipsam figuram proferantur, & debet fieri aliquod interuallum inter istas orationes
quae scribuntur infra & inter ipsam figuram.
[141a] Oratio 9. Ista oratio proferatur ante secundam notam Rhetoricae
Vision omnium potestatum atque regnorum, & iudiciorum, aeterna conspiratione
aspiciens, omnium administrans schemata linguarum, in cuius regimine nullum
est impedimentum: Instaura quaeso ad memorata & repetita, cor meum & linguam
meam ad discernendum, ad eloquendum, ad iudicandum, ad habendum quae in
hac arte necessaria authoritas diuina commendat, & in me perfecte compleatur,
Amen.
{630} [141b] Oratio 10. Ista cum duabus praecedentibus proferatur ante secundam
notam Rhetoricae.
Azelechias velozeos, Inoanzama, Saruclo, hotens Sagnath, Adonay, Soma
lezochos, hicon, lezomothon, Sadaot. Et tu Deus propitius in me promissiones
confirma, sicut confirmasti per eosdem sermones Regi Salomoni. Emitte mihi
Domine virtutem de ccelis, quae cor meum & mentem illuminet & confirmed
Conforta Deus intellectum meum, & animam meam innoua in me, & laua me
aquis, quae super coelos sunt. Effunde de spiritu tuo super carnem meam, & in
visceribus meis ad facienda & compotenda iudicia tua humilitate & charitate, qui
coelum & terram fecisti, & hominem ad similitudinem & imaginem tuam creasti,
infunde charitatis tuae lumen intellectui meo, vt fundatus & radicatus in
misericordia tua, diligam nomen tuum, & cognoscam & adorem te, & intelligam
omnes scripturas istius artis, ob quam haec data a Deo, & insignita per manus
Angelorum sanctorum, & emissa sunt figurarum mysteria, quae in corde &
intellectum meo habeam & cognoscam, & huius artis constanter officium habeam
nominis tui sancti & gloriosi, praeualente consilio tuo, Amen.

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[141c] Oratio 11. Ista oration proferatur ante tertiam notam Rhetoricae:
Scio enim quia delector me in facta tua magna mirabili & ineffabili, & dabis mihi
scientiam, quam per hoc opus habentibus pollicitus es, secundum magnam &
incomprehensibilem virtutem tuam. Theon, Haltanagon haramalon, zamoyma
Chamasal, leconamril, harionatar, lechomagol, gela magos, Kemolihot,
Kamanatar, hariomolatar, hanaces, Velonionathar, Azoroy lezabali. Per hae
sacratissima Dei & gloriosissima, & profunda mysteria, & preciosissima officia, &
virtutem & scientiam, äuge in me & comple quod incepisti, & reforma quod
incepisti in me. Zembar, henoranat, Grenatayl, Samzatam, lecornazay,
fundamentum altissime omnium bonitatum & scientiarum atque virtutum, tribue
famulo tuo tibi displicentia vitare contagia & tua veritate pura, & intentione
sancta, possim sociari vt tuam promissionem toto corde desiderans in omnibus
tarn in legibus qua in decretalibus praecipue hec sancta mysteria videar &
cognoscar adipisci, & bene in ista arte proficiam penitus laudandus & facundus.
Amen.
[142] [Oratio] 12. Ista oratio debet proferri ante quartam notam Rhetoricae.
Reuerende potens & Dominus superioribus angelis & Archangelis omnibusque
ccelestibus creaturis, tarn infernalibus quam coelestibus: de cuius magnificentia
venit plenitudo, quia {631} nobis digne familaturi, cuius a quatuor mundi partibus
regna portas. Qui ossibus & anima & spiritu, hominem ad imaginem
&similitudube tuamfecisti, Da mihi huius artis scientiam, corroborans me in ipsius
facultatis scientiae. Amen.
[142a] [Oratio] 13. Ista oratio proferatur ante primam figuram Arithmeticee.
Deus qui omnia pondere & numero & mensura fecisti: in cuius ordine omnium
momentorum dierum patens est & apta dimensio: qui etiam solus stellarum
nomina nominas menti meae constanter tribue efficaciam, vt in huius artis
cognitione te diligam, & tuae pietatis munus agnoscam. Amen.
[142b] [Oratio] 14. Ista debet proferri ante semis Arith.
Mediator omnium operationum & creaturarum, a quo omnia procedunt
naturaliter bona & omnia virtutum dona procedunt, a quo omne quod est solidum
& perfectum est: cuius sermo recens de regalibus venit sedibus in corda nostra
dum medium tenent cuncta scientium me tua charitate in intellectum bonum
constitue ad percipienda haec tanta excellentissima mysteria huius artis, & istorum
sacramentorum perfecte consequar effectum, Amen.
[143] [Oratio] 15. Ista oratio proferatur ante secundam figuram Arithmericae:
Deus iustis Iudex operum, qui nobis notum fecisti salutate tuum & in conspectu
gentium reuelasti iustitiam tuam, reuela oculos meos, & cor meum illustra salutari
iustitia tua, vt mirabilia tua de tuis tarn gloriosissimis sacramentis enarrem,
quatenus per ea tantam in hac arte consequar intelligentiam vt te praestante qui
solus mirabilia facis, magna, in ipsa arte subitus interpres efficiar: vt mea
facunditate & memoria cum stabilitate recepta dimentiendo dimentiar, &

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intercessione cunctarum virtutum coelestium, honorem in secula seculorum.

Amen.
[144-145 Missing]
[146] [Oratio] 16. Ista oration debet proferri ante secundam notam Geometriae.
Omnis sapientiae Deus & scientiae donator illis in quibus peccatum non est
disciplinae spiritualis Magister & instructor, per angelos tuos & archangelos, per
thronos et potestates, principatus & virtutes, per cherubin & Seraphin per viginti
quatuor seniores, per quatuor animalia per omnem militia coelestis exercitus,
adoro, inuoco, flagito & veneror, glorifico & exalto nomen tuum sanctum terribile
mitissimum. Te quaeso vt hodie cor meum Spiritus sancti lumine & gratia tuae
visitationis fcecundatum & roboratum illustres: tu qui es trinus & vnus Amen.
[Oratio] 17. Ista oration debet proferri ante secundam notam Theologiae.
{632} Adoro te rex regum, rex meus & Deus meus, vita & substantia mea simul &
reuelatio mea, memoria & virtus mea: qui hora vna diuersarum genera linguarum
aedificantibus turrim dedisti: & qui sanctis Apostolis tuis vnctionem septiformis
Spiritus sancti infundisti, & illis idiomata quae nos docent de omnibus linguis
eisdem repente loqui tribuisti, per virtutem Verbi tui in quo omnia creasti per
potentiam huius sacramenti, inspira cor meum & infunde in illud rorem gratiae
tuae in subito tui sancti spiritus afflatus lumine efficaciam huius operis &
intelligentiam & expositionem linguae & istarum artium capax & subtile ingenium
valeam consequi. Amen.
/

[83] Qualiter tria capitula ante omnium notas debent proferri.

Quae de tribus primis capitulis diximus ante omnes notas generaliter & specialiter
pronuncianda sunt: ita tarnen, vt cum ipsas orationes diebus determinatis dixeris,
& de notis volueris operari, vt tibi praemonstratum est: Toto mense diebus singulis
semel ipsas orationes dicere oportet ante meridiem: & tarnen ante notas singulas
omnes notas proprias dices. Et cum scripturas incipere volueris ad legendum
facias vt tibi jussum est.
[84] Qualiter notae propriae inspicuintur.
Sciendum est igitur, vt si de alique arte sola scire volueris ad legendum siue ad
discendum Ipsius artis notae proprie & solae inspiciendae sunt suo tempore. De
liberalibus tribus satis diximus.
[85] Qui dies obseruandi sunt in inspectione notarum quatuor artium.
Ecce de reliquis quatuor atribus. Nulla enim dies in earum notis inspiciendis
obseruanda est. Nisi quatuor dies primi qui obseruandi sunt. Notae vero
philosophiae cum scientiis suis quae sub ea continentur. Luna 7. & 17. Cum
orationibus singulis diebus septies inspiciendae sunt. Nota autem terroris cum
taciturnitate & timore inspicienda est. In Omelia prima in noua luna inspicienda
est eisdem diebus.

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[86] De notis autem liberalium quatuor satis dictum est. Et tarnen sciendum est,
quod quando ipsas pronunciaueris, viuendum est caste & sobrie. Nota vero
habens 24. Angelos cum singulis suis aduentitiis in se habens nouum testamentum
plenarie et perfecte ita pronuncianda est sicut audiuisti. Hoc tarnen de ista {633}
restat quod quandocunque earn inspexeris omnes orationes Theologiae recitandae
sunt, licet notis singulis singular orationes singulatim comperant, quae sicuti
diximus pronunciandae sunt. Verum vt tibi diximus, quotiescunque Theologiae
notas inspexeris alias orationes praecedentes in principio vt tantorum
sacramentorum habeas efficaciam, caeteris temporibus pronuncia.
[87] De inspectione notarum generalium.
De notis autem generalium et de orationibus earum hoc scias quod quotiescunque
de exceptiuis, vel adulterinis scire volueris, ipsas notas generales diebus singulis
decies, factis tarnen interuallis & librum illarum artium inspectis, & sicut de aliis
factum est & dictum, ita pronunciabis. Et quacunque die volueris de generalibus
poteris operari omnia quae in primis capitulis dicenda nouisti. Ipsas videlicet
orationes diebus septem singulis septies dices, interuallis factis, & omnium artium
quas volueris libris reuolutis & inspectis: postea poteris operari in artibus sicut
volueris, & facias sicut tibi dictum est.
[88] Qualiter tria prima capitula semper proferenda sunt ante orationes.
De notis omnibus iam initialiter data est cognitio, & de capitulorum orationibus.
Vt autem perfectionem ipsarum habeas, hecscito, quod in generalibus
pronunciandis orationibus siue notis ipsarum pronunciandis, orationes
capitulorum trium pronunciandae sunt.
[89] Qualiter oratio quinta Theologiae proferri supra istas orationes.
Ecce de reliquis quatuor liberalibus artibus aliud dicendum est. Si vero perfectam
ipsarum notitiam habere volueris, ita facies orationem quintam Theologiae prius
orationes singularum notarum dices. Haec satis declarata sunt, vt intelligas &
cognoscas, & iterum scias de orationibus capitulorum, ita debere ante notas
singulas singularium artium propronunciari sicut definitum est, & ita custodi &
fac. Istae sunt augmentationes orationum que notis omnium artium liberalium &
exceptiuarum praeter mechanicas competunt & specialiter notis Theologiae
ascribuntur. Sic igitur pronunciande sunt, vt quandocunque vnamquamque no tarn
vnius cuiuscunque artis inspexeris, & omnes earum protuleris istas orationes
equentes dicas.
{634} [90] [Oratio] 1. Ezomomos, hazalat, Ezityne, hezemechel Czemomechel
zamay, zaton ziamy nayzaton, hyzemogoy, leccomantha, laraphy, phalezeton,
Sacramphal, Sagamazaim. Secranale Sacramathan: lezennalaton hacheriatos.
leteleymathon, zaymazay, zamaihay, Gigutheio Geurlagon Garyos. Megalon
hera cruhic, Crarihuc. Amen.
[91] Ista oratio cum praecedenti proferatur ante primam figuram philosophiae.
Domine Deus sancte Pater omnipotens, exaudi preces meus incomprehensibilis,

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inuisibilis, immortalis & intelligibilis cuius vultum angeli & Archangeli & coelestes
virtutes ardenter videre desiderant. Cuius maiestatem aeternaliter atque uptime
pro posse meo exerceo, adorans vnum Deum in secula seculorum, Amen.
[92] [Oratio] 2. Ista proferatur ante secundam notam philosophiae.
Domine Deus sancte pater & omnipotens, exaudi preces meas hodie & inclina
aurem tuam ad orationes meas, Gezomelion Samach, Semath, Cemon, Gezagam
Gezatrhin zheamoth zeze hator Sezeator Samay Sannanda, Gezyel, lezel,
Gaziety hei, Gazayethyhel. Amen.
[93] Ista oration cum praecedenti simul proferatur.
Deus semper via, vita, veritas: Da lucem tuam florem Spiritus sancti in
conscientiam & mentem meam, & concede vt fulgeat & clarescat donum gratiae
tuae in cor meum, & in animam meam nunc & per omnia secula seculorum. Amen.
[94] Ista oratio proferatur ante tertiam notam philosophiae.
Lemogethom, hegemochom, hazachay Hazatha, Azamachar, Azacham,
Cohathay. Gehomothay Logomothay, zathana, Lachanma, Legomezon,
Legornozon. Lembdemachon. Zegomaday, Hathanayos, Hatamam, Helesymom,
Vagedaren, Vadeyabar, Lamnanath, Lamadai, Gomongchor, Gemecher, Ellemay,
Gecromal, Gecrohahi, Colomanos, Colomaythos, Amen.
[95] Ista oratio cum praecedenti simul proferatur.
Vita omnium creaturarum Deus visibilium, claritate aeterna coelestium, & omnium
virtus salus indeficiens, qui es pietatis origo, qui omnia nouisti antequam fiant, qui
diiudicas omnia quae videntur & ineffabili dispositione discernis, glorifica nomen
tuum sanctum ineffabile hodie in cor meum, & corrobora intellectum meum &
intelligentiam meam. Auge memoriam meam, & confirma facundiam meam.
Expeditam redde linguam meam in scientiis & scripturus tuis, vt facultate mihi a
te collata, {635} et sapientiae tuae doctrinae corde meo insignita laudem te &
cognoscam te et intelligam nomen tuum sanctum in secula seculorum. Amen.
[96] [Oratio] 4. Ista oration proferatur ante quartam notam Philosophiae.
Rex regum infinitae misericordiae, maietatis immensae largitor atque dispensator,
ac stabilitor omnium fundamentorum, pone fundamentum omnium virtutum
tuarum in me & aufer a me insipienciam cordis mei vt stabiliantur sensus mei in
dilectione charitatis tuae, & informetur Spiritus meus per te secundum
recreationem & invocationem voluntatis tuae, qui viuis & regnas Deus per omnia
secula seculorum, Amen.
[97] Qualiter dictae orationes qualibet die proferantur semel ante notae generales
& notas artium liberalium.
Hae orationes liberalibus artibus quatuos necessariae sunt sed specialiter ad
Theologiam pertinent, quas cum notam generalem vel notam alicuius liberalium
artium cum oratio nib. Suis pronunciare volueris istas orationes praedictas prius
dices semel singulis diebus. Veruntamen cum de notis Theologiae tractare volueris,

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sicut diximus, easdem orationes apud vnamquamque notam septies dices. Et si

aliquam notam de dictando versificando vel contando vel organizando, siue de
aliis huius scientiis aliqua ad discere volueris, siue docerer; ipsum quem docueris
prius istas orationes doce, vt quoquo modo legat & si puer minoris intellectus
fuerit, tu legas eas ante ipsum & ille post te legat de verbo ad verbum. S[i] in vero
sit bonae intelligentiae legat eas septies in die per di es septem. Si vero notam
generalium cum orationibus suis proferre volueris, easdem orationes profer, &
multum tibi proderit ipsarum orationum virtus: & si omnes quae sunt in initio
minus proferantur, vel etiam aliqua ipsarum magnam perhibent habere efficaciam.
[98] De orationibus istis ait Salomon. Istas orationes solas nemo praesumat ne
propter officium, ad quod institutae sunt.
Deus pater immense, a quo processit omne quod bonum est, cuius magnitude est
incomprehensibilis, exaudi hodie preces meas, quas in conspectu tuo refero, &
concede mihi & redde mihi laeticiam salutaris tui, vt doceam hodie iniquos, vias
tuas & semitas scientiarum tuarum, & conuertantur ad te rebelles & inereduli, vt
quod corde repeto & ore commemoro in me radicitus habeat fundamentum, vt in
operibus tuis effieax videar & adjutus. Amen.
{636} [99] Ista oration proferatur ante sextam notam philosophise.
Gezomothon, Oromathian, hayatha, Aygyay, Lethasihel, Lechizliel, Gegohay,
Gerhonay, Samasatel, Samasathel, Gessiomo hatel, Segomasay, Azomathon,
Helomathon, Gerochor, hejazay Samin, heliel, Sanihelyel, Siloth Silerech,
Garamathal, Gesemathal, Gecoromay, Gecorenay Samyel, Samihahel,
Hesemyhel, Sedolamax, Secothamay, Samya, Rabiathos, Auinosch, Annas.
Amen.
[100] Ista oration cum praecedenti proferatur,
Rex aeterne Deus Judex & discretor omnium, agnitor scientiarum bonarum, instrue
me hodie propter nomen sanctum tuum, & per haec sancta sacramenta, & clarifica
mentem meam, vt intret scientia tua interiora mea sicut aqua fluens de coelo, &
sicut oleum in ossibus meis, per te Deus Salvator omnium, qui es fons bonitatis, et
totius pietatis origo, instrue me hodie in istis scientiis quas desposco, tu qui es
vnus Deus Amen.
Deus pater immense, a quo procedit omne quod est bonum, cuius magnitude
misericordiae est incomprehensibilis, exaudi hodie preces meas, quas in conspectu
tuo refero, et redde mihi leticiam salutaris tui, vt doceam hodie iniquos vias tua, et
semitas scientiarum tuarum, & conuertantur ad te rebelles & increduli, & etiam in
operibus tuis effieax videar & adiutus. Amen.
[101] Incipit oratio septima. quae est finis suarum orationum & complementum
earum precipue ad notam ineffabilem pertinens, quae est vltimum Theologiae,
viginti quatuor angelos habentem.
Istud est principium orationis, Deus totius pietatis autor & fundamentum
omnium, salus aeterna & redemptio populorum, inspirator omnium gratiarum,

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scientiarum & artium largitor immense, de cuius munere venit, vt nobis famulis
tuis scientiarum in me inspirare digneris augmentum: Qui etiam mihi misero
peccatori tua viam concesisti, vt scire sacramenta, defende animam meam, & libera
cor meum de prauis huius mundi cogitationibus & incentiuae libidinis omnis
fornicationis in me extingue potentiam, & reprime vt scientiis tuis & artibus tuis
intensius delectar in eis, & des mihi petitionem cordis mei, vt in glorificatione tua
confirmatus & exaltatus diligam te, & augeatur in me virtus spiritus sancti per
salutem tuam et remunerationem fidelium in salutem animae meae et corporis mei.
Amen.
{637} Ista oratio cum praecedenti proferri omnino debet.
Deus pater immense, a quo procedit omne quod est bonum, cuius magnitude
misericordiae est incomprehensibilis, exaudi hodie preces meas, quas in conspectu
tuo refer o.
[102] Incipiunt praecepta specialia de notis Theologiae, & specialiter de prima,
secunda & tertia.
Orationes septem iste quas proponimus augmentata reliquarum orationum sunt.
Et ante omnes notas Theologiae diei debent. Sed tamen praecipue ante notam
ineffabilem prouiiciande sunt, vt diximus. Ista experimenta sunt quae postulasti ad
sufficientiam, quae tibi authoritate Salomonis seruare praecipimus, & de capitulis &
orationibus earum inquires diligenter & fac sicut disposuimus & reliquas orationes
pronuncia & notas artium perfecte inspice.
[103] Qualiter Salomon recepit notam ineffabilem sibi traditam ab Angelo.
Ecce quia mysterio notarum postulasti, hoc de nota ineffabili praecipue habeas,
cuius expressio est data, gladiorum, florum, arborum, volucrum, candelabrorum,
serpentum in angulis per figuras. Hanc autem Salomon a Deo nocte pacificorum
accepit in folio aureo designatam. Et audiuit a Domino. Ne dubites nec
expauescas, quia hoc sacramentum maius est omnibus: Et subiunxit ei Dominus.
Cum autem hanc notam inspexeris & orationes eius legeris, obserua man data quae
superius data sunt, & ipsa diligenter respice, quae legeris in nota Dei, & in nota
ineffabili caue tibi prudenter, vt quaecunque inspexeris, & quaecunque tibi in
visione venerint celes & custodias. Et cum tibi magnus Angelus Domini apparuerit
signum crucis in vexillo gerens, verba quae tibi ostenderit ineffabiliter scripta
custodi & cela, & operare in eis, sicut tibi praeceperit, & ipsam notam Theologiae
per Visionum magnam quam videbis aperuerit, summopere custodi: & quicquid
tibi in omnibus notis idem simile apperuerit cum summa intentione obserua &
orationes sicut dictum est in ea pronuncia diebus & horis determinatis, & repete
tamen partes illius orationis magnae, quam habes, sicut tibi praeceptum est, &
diuide, & fac interualla sicut superius dictum est: & postquam illas dixeris,
SAPIENTER DIE ILLO AGE ET CASTE VIVAS. Si autem incertus aliquid feceris,
periculum quidem instat cur ab aliis notis & orationibus earum experimentum
{638} habueris, sed in istis & orationibus earum quoddam maius est admirandum,
& ipsa sunt quae in istis consideranda sunt.

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[104] Ista enim verba sunt nomina ineffabilia, & spiritualiter proferunter ante
notam inestabilem. Hosel lesel, anchiatar Aratol Hasiatol, Gemor gesameor. Istae
orationes praedictae sunt quae debent proferi & quomodo post inspectionem
omnium artium, & praecipue post notam Theologiae.
[105] Hoc est exemplementum totius operis: Sed quae de totius operis experimento
sunt necessaria aliqua plene dicere voluerius & praelibata lucidius declarare. In
initio cognitionis omnium artium data est tota doctrina operandi & fere perfecta.
Ecce quare dixerim fere. Fere enim dixi, quia adhuc quaedam florida & continua
huius operis restant instituenda quorum primum principium istud est.
[106] Qualiter mandatae sunt obseruanda in operatione omnium artium.
Quartam autem Lunam in omni omnium pronunciatione Theologiae obseruabis.
Quotiescunque Luna quarta fuerit in operis instantis efficaci exhibitione, subtilius
librum inspicias, atque ipsarum artium scripturas. Capitula autem de quibus
dubitasti, & adhuc forsitan dubitas ita pronuncianda sunt, sicut superiorum
capitulorum docet intentio. Hoc autem scias, quod haec verba sancta orationum,
quae ante lectum infirmi ad experimentum mortis siue vitae dicenda instituimus,
etiam si nihil aliud de toto corpore artis operari volueris, saepius poteris facere.
[107] Hoc autem sciendum est, quod si libros tibi ad manus habere non poteris, vel
si tibi ipsos inspiciendi facultas data non fuerit, non id circo minus erit operis
effectus, & bis proferantur omnes orationes vbi semel proferrentur. Capitula
autem de quibus dubitasti, vel adhuc forsitan dubitas ita pronuncianda sunt sicut
superiorum capitulorum docet intentio. Hoc autem scias quod verba sancta
orationum quae ante lectum infirmi ad experimentum mortis siue vitae, dicenda
instituimus etiam si nihil aliud de toto corpore artis operari volueris, saepius
poteris facere & probare.
Et de visione scienda, & de aliis efficaciis quas istae orationes habent sanctae
quantumcunque & quandocunque volueris poteris probare & tentare.
[108] Ista sunt praecepta quae specialiter agenda sunt & obseruanda.
Cum de Theologia vero volueris operari, praeter illos dies qui tibi breuiter instituti
sunt, nullus obseruandus esr dies. {639} Tempora autem omnia competentia sunt
illis notis & orationibus quibus data esr tanta temporis definitio. Hoc autem restat,
quod in artium liberalium trium pronunciatione, siue in ipsarum notarum
inspectione forte aliquem diem praetermiseris institutum, si forte caeteros
obseruaueris, etiamsi duos transgressus fueris, non id circo relinquas opus tuom,
quia propter haec non amittet effectum suum, cum maioribus numeris Luna,
potius dies sunt obseruandi quam horae. Vnde Salomon ait: Si horas transgressus
fueris in die vna, vnam vel duas, non terrearis & de capitulis generalibus sicut
dictum est operare. Hoc satis est de istis: Veruntamen verba quae tibi initio
sermonum faciendorum siue lectionum legendarum & scientiarum
adipiscendarum, nulla ratione obliuiscaris: quia per se dicta magnum effectum
habent. Et verbis sacramentalibus visionum poteris frequenter operari. Si autem
volueris incipere de toto corpore artis physicae opus, sicut superius definitum est.

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Prima capitula prius recitanda, de quibus data est definitio per praedicta.
Sciendum est etiam quod de Theologia tantum poteris per te operari. Notas inspice
& orationes Theologiae saepius repete: Et si de toto copere cessaueris haec tibi
magnum poterit conferre scripturarum effectum. Necessarium si quidem est vt
notam viginti quatuor Angelos habentem, cum orationibus suis semper in
memoria habeasm & vt tibi superius diximus, quae per Visionum videris Angelo
praemonstrante tibi sub custodia habeas, & sub fideli certamine reclude.
/

[110] [Incipit Nova Ars Salomonis.]

Ista quae operis praecedentis sunt experimentum. Hoc principium sequentium
orationum est, quas orationes Salomon ARTEM NOV AM appellauit.
[111] Orationes enim istae ante omnes generaliter & ante omnes notas specialiter
dici possunt: & debent proferri etiam si absque aliis capitulis de ipsa arte praefata
operari volueris ipsis orationibus dictis tempore & ordine congruo, poteris in
qualibet artium magnam habere efficaciam. In ipsis orationibus discendis neque
tempora neque dies neque Luna obseruanda sunt. Sed tarnen illud specialiter in
ipsis obseruari debet, quia diebus quibus orationes ipsae proferuntur, a peccatis
obseruandum est criminalibus, scilicet gulae, luxuriae, & specialiter a iuramentis
superfluis: ad quas antequam perueniatur, aliud praelibandum est, ut ipsarum
orationum plenior & perfectior cognitio habeatur. Vnde Salomon inquit: {640} Ego
istas orationes prolaturus, timui ne offenderem Deum, & constitui mihi tempus, in
quo illas inciperem, vt in castitate viuens de ipsis innocentius appareret.
[112a] Ista sunt earum orationum prohemia: antequam tarnen ea de quibus dubitas
proponere disposui vt singula singulis sub ordine posita, absque aliqua definitione
clarescat.
Ista sunt quidem etiam, de quibus dubitare non debes videlicet: vtrum capitula
prima notis philosophise & vtrum tria capitula omnibus artis sub se contentis
debeant in assignatione praelibata temporis proferri: quia certe sicut praelibauimus,
ita possunt & debent. Sed sciendum est, quod secundum intentionem, quam tibi a
Deo collatam credo & scio, & sic earn superiu praelibatam te decreuimus intueri;
pauca vel nulla sunt de quibus oporteat dubitare. Verumtamen tibi terminum non
posui praeclarum. Praeterea quia initia scriptorum emendanda constitui terminum
non quaeras.
[112b] Sed si forte rem tarn subtilem incipere volueris, necessarium arbitror vt feria
sexta operis huius habeas principium, & sicut in ista arte dispositum est. Bonum
est anteferri ieiunium triduanum vt vtrum bona an mala huius voluntatis desideria
sint, diuinitus ostendatur.
[113] Ista enim praecepta ante omnsm operationem instituta sunt. Si enim aliquod
aliud est de quo dubitas initium, vt trium primorum capitulorum, siue quatuor
subsequentium artium, vt effectum plenariae cognitionis habeas: si secundum
quod superius descriptum est capitula & orationes & notarum consideraueris &
pronunciaueris, etiamsi aliquid ignoranter praeterieris, poteris subsequentium
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orationum spiritual! vitute reconciliari.

[114a] De istis orationibus ait Angelus Salomoni. Vide igitur orationum istarum
sacramenta, & si quid de illis praesumptuose vel ignoranter transgressus fuisti,
dicas reuerenter atque subtiliter easdem orationes. Et de ipsis orationibus Angelus
magnus inquit: Hoc sacramentum Dei magnum est, quod per manum meam tibi
mittit Dominus. Ad cuius venerationem sacramenti cum rex Salomon cum magna
patientia in conspectu Domini offerret super altare, vidit librum syndone
inuolutum. & in hoc libro scrip tas orationes decem & super singulas orationes
signum sigilli aurei. Et audiuit in spiritu: haec sunt quae figurauit Dominus, & quae
longe exclusit a cordibus infidelium.
Tremuit ergo Rex Salomon ne offenderet Dominum & custodiuit {641} ipsas dicens
eas fas non est nec operari in ipsis in infidelibus. Sed qui aliquid magnum vel
spirituale in artibus siue in arte aliqua vult adipisci alicuius scientiae necessaria. Si
superius opus habere non poterit. Omni tempore quandocunque voluerit has
orationes dicat, primas tres pro primis tribus liberalibus specialiter singulam
orationem pro singula arte: vel generaliter omnes tres pro artibus dicendae sunt.
Item & quatuor orationes subsequentes quocunque tempore volueris pro aliis
quatuor artibus liberalibus dicas simili modo. Et si forte totum corpus artis habere
volueris, absque aliqua temporis definitione, ipsas orationes pronunciare poteris
ante artes singulas, & ante orationes & notas earum atrium, quoties volueris eas
plene, manifeste & secrete pronunciare. Et tarnen necessarium est tibi castel viuere
& sobrie in pronunciatione earum.
[115] Ista oratio est prima de decem, quae per se sine opere praecedenti possunt
pronunciari ad memoriam, facunditatem, & intelligentiam & illarum trium
stabilitatem acquirendam. Et singulariter debet proferri ante primam figuram
Theologiae.
Omnipotens, incomprehensibilis, inuisibilis & indissolubilis Deus, adoro hodie
nomen sanctum tuum: ego indignus & miserrimus peccator extollens orationem &
intellectum meum & rationem meam ad templum tuum sanctum coeleste, & assisto
tibi hodie Deus meus, ostendens te Deum meum creatorem meum & saluatorem
meum. Et ego rationabilis creatura, inuoco hodie gloriosissimam clementiam
tuam, vt viuificet hodie Spiritus sanctus infirmitatem meam: & tu Deus meus qui
Moysi & Aaron seruis tuis per literarum elementa exterioris linguae tuae efficacem
doctrinam contulisti, confer hodie mihi gratiam superioris dulcedinis tuae qua
instruxisti seruos tuos, & inuestigatione qua inuestigasti eosdem per Prophetas, &
sicut potuisti eis momentaneam conferre doctrinam: adhibe earn doctrinam quam
scire desidero, & emunda conscientiam meam, ab operibus mortuis: & mitte cor
meum in viam rectam & aperi id ad intelligendum, & destilla intellectum meum in
viam rectam. Et tu Domine Deus qui me ad imaginem & similitudinem tuam
creare dignatus es, exaudi me in tua iustitia, & doce me in tua veritate, & reple
animam meam scientia tua secundum magnam misericordiam tuam, vt in
multitudine miserationum tuarum amplius me delectes & in operibus tuis magnis,
& complaceam in administratione {642} mandatorum tuorum: & secundum opera

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gratiae tuae adiutus & restauratus & exaltato corde & conscienta mea emundata
confidere in te, & epuler in conspectu tuo, & exaltem nomen tuum quod bonum
est, in conspectu sanctorum tuorum. Sanctifica me hodie, vt in fide viuam & spe
perfecta, & charitate constanti, literaturam quam desidero adipiscar, & addiscam:
& adepta scientia exaltatus, corroboratus, illuminatus diligam te & cognoscam, &
scientiam & sapientiam intelligam de scripturis tuis, quas hominibus sciendas
permisisti sentiam & firmiter habeam et retineam. lesu Christe Fili Dei vnigenite,
cui ante secula omnia dedit pater in manus, da mihi hodie propter nomen sanctum
tuum gloriosum & ineffabile nutrimentum corporis & animae, idoneam &
perspicacem linguam liberam & expeditam & absolutam, vt & quicquid
postulauero in tua misericordia & voluntate & veritate disponatur: & omnis oratio
mea & actio in beneplacito tuo radicata & confirmata consistat. Aperi Domine
Deus meus & Pater vitae meae fundamentum scientiae quam desidero. Aperi mihi,
Domine fontem quem aperuisti protoplasto Adae: & quem aperuisti seruis tuis
Abraham & Isaac & lacob ad intelligendum ad discendum & ad iudicandum,
su[s]cipe pro me hodie Domine preces & orationes omnium sanctorum, &
sanctarum coelestium virtutum, vt omnium scripturarum tuarum docibilis
constanter efficiar. Amen.
[116] Ista oratio cum prima pronunciata dat facunditatem. Et est secunda oratio de
decem & cum praecedenti pronunciari debet facto aliquo modico interuallo,
adhibet cum prima facundiam. Ista enim oratio debet proferri ante secundam
figuram Theologiae.
Adoro te rex regum & domine dominantium, rex aeterne impermutabilis, intellige
hodie clamorem meum spiritus & cordis mei gemitum, vt commutato intellectu
meo, & dato mihi corde carneo pro lapideo respirem ante Dominum & Saluatorem
meum. Et laua Domine interiora mea spiritu tuo nouo intellectu carnis meae malo:
pone intellectum tuum bonum, & aufer a me quod malum est, commutans me in
hominem nouum: vt dilectione qua reformasti me, salus tua mihi intelligentiae
tribuat incrementum. Exaudi hodie preces meas Domine, quibus clamo ad te, &
reuela oculos carnis meae & mentis meae considerans & intelligens & custodiens
mirabilia de scripturis legis tuae, vt viuificatus in iustificationibus tuis praevaleam
in conspectu adversarii fidelium diaboli. {643} Exaudi me Domine Deus meus &
propitius esto mihi qui plasmasti me, & ostende hodie misericordiam tuam, &
porrige mihi vas salutare, vt potem & satier de fonte gratiae tuae: vt de scriptutis
quas desidero hodie psallam cum intellectu & scientia & intelligam & veniat hodie
gratia Spiritus sancti & requiescat super me. Amen.
[117] Ista oratio dat facundiam proferenti, & stabilitatem mentis.
Ista est tertia oration de decem, & cum aliis praecentibus debet pronunciari ad
confirmandam stabilitatem mentis. Ista oratio debet pronunciari ante primam
figuram artis Astronomiae.
Confiteor ego tibi reus hodie Deus pater coeli & terrae, conditor omnium visibilium
& inuisibilium, creaturarum omnium, atque virtutum omnium & gratiarum
bonarum dispensator atque largitor. Qui obscondis sapientiam & scientiam, tuam

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a superbis & reprobis (sibi non autem maiestati tuae fidentibus.) Humilia
(Illumina) hodie cor meum, & stabilem fac intellectum meum, & mentem meam, &
diligentem te fac conscientiam meam, & signa hodie lumen vultus tui super me, vt
prorsus innouatus intelligens efficiar & stabilis in mundatis tuis: & emundatus ab
omnibus operibus malis, preualeam in scripturis & scientiis tuis, quas reseruasti
vnice tibi credentibus. O fortis & misericordissime, & omnipotentissime Deus, vre
cor, renes, internes sensus meos, corrobora hodie animam meam gratia Spiritus
sancti, & igne visitationis eiusdem gratiae tuae illumina me in fortitudine
stabilitatis: praecinge lumbos meos, & baculum confortationis tuae porrige in
dexteram meam, & doctrinas dirige in opera mea veras: vt eradicatis sordibus &
vitiis peccatorum meorum, praeualeam confortatus in dilectione misericordiarum
tuarum. Inspira mihi Domine spiraculum vitae, & äuge mentem meam, &
intellectum meum, & rationem meam, & mitte Spiritum sanctum in me: vt in
omnibus scripturis tuis exercitatus spiritus meus confortetur & augeatur. Oro,
respice benigne, & considera Domine hodie dolorem mentis meae, vt fiat voluntas
mea confortata in te, & de coelo mittere mihi digneris in terram consolatorem
Spiritum tuum, vt in stabilitate perfecta me muniat in prae praesenti, & in
continuatione conferat vt conforter ad ea intelligenda quaae desidero. Da
inuentionem, ó fons omnis rationis perfectae scientiae locupletissimae, vt auxilio tuo
sancto haec merear obtinere, Amen.
[118] [Oratio quarta que est magna Salomonis ad omne opus bonum
peragendum.
Otheos, Athamaziel, Gezomi, Saziel, Sazamai, Geternamai, Salathiel, Gozomiel,
Megal, Nathamian, Jamazair, Sephonai, Mois, Ranna, Zaramaen, Gezonomai,
Amamin, Delot, Azememelot, Chades, Baruc., Smor, Gezeron, Malaparos,
Ellamai, Merai.]1
{644} [119] Ad confortationem sensuum interiorum & exteriorum.
O Pientissime Deus, & misericors, Clemens Deus Pater, Deus omnipotens, omnia
donans, fac mihi possibilia omnia credenti in posse vigore tuo, & adiuua me hodie
pientissime Deus, sicut misericors fuisti Adas poenitenti, qui ei subitam, per
omnipotentiae tuae misericordiam, scientiam multarum agnitionum contulisti
atrium: Confer mihi hodie per eiusdem omnipotenciae tuae misericordiam, vt earn
scientiam valeam adipisci: Adesto clementissime pater operi hodie, & instrue me
benignissime. O Domine clementissime lesu Christe fili Dei confirma aspirando in
me Spiritum sanctum qui a te Patre procedit: consolida opus meum hodie, & doce
me, vt ambulem in scripturis, & glorier in multitudine effluentis graciae tuae: vt
impetus fluminis sanctissimi Spiritus ciuitatem cordis mei laetificet, diuinam
Scripturam inspirando, & repleat cor meum, omnimoda facundia, & visitatio sua
sancta viuificet me, & deleatur in me macula omnis vitii. Te queso Domine Deus
meus incomprehensibilis, vt gratia tua semper maneat super me, & multipliciter in
me, & sanabis Domine animam meam pietate tuae inaestimabilis clementiae, &

1 Restored from Veronese (2007), p. 79.

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 Ars Notoria

confortabis cor meum hodie, & toto tempore vitae meae, vt quicquid audiero,
intelligam, & quicquid intellexero custodiam: & quicquid custodiero, memoriter
teneam, & alios corde & lingua docili instruam notitiam tuae inexhaustae bonitatis
per haec sacramenta praefata, cooperante gratia Patris, & Filii, & Spiritus sancti,
Amen.
[120] Haec oratio cum praecedentibus debet legi pro memoria.
Pie Pater, misericors Fili, clemens Spiritus sanctus, Deus, Rex ineffabilis &
inaestimabilis, adoro, inuoco & deprecor nomen sanctum tuum super effluentem
aequitatem tuam, quatinus omnia ignoscas & indulgeas miserabilis mihi misero
peccatori praesumente in officium quod aggressurus sum de literatura & occulta
scientia cognoscenda, & fac me Domine vt efficaciter in me vigeat & inualescat.
Aperi mihi Domine Deus aures meas, potenter vt audiam, & exterge lutum
oculorum meorum, vt videam: dilata aures meas vt audiam: conforta manus vt
operer: conforta pedes meos vt ambulem: expandi nares meas, os meum &
olfactum meum, vt sentiam & loquar tibi placita semper, ad honorem nominis tui,
quod est benedictum in secula seculorum, Amen.
{645} [121] Haec oratio antequam legas, valet ad sensus inferiores & exteriores.
Extolle sensus carnis & carnis & animae meae ad te Domine Deus meus, & eleuo cor
meum hodie ad te, vt placeant verba & opera mea in conspectu populi tui, &
fulgeat omnipotentia tua magna, & misericordia tua in visceribus meis, & dilatetur
mens mea in me, & indulcescat eloquium tuum sanctum in ore meo, vt quod
legero vel audiero intelligam, & proferre sciam, sicut Adam intellexit: sicut
custodiuit Abraham, & ego custodiam: sicut memoriter tenuit Jacob, & ego
teneam, vt in scripturarum tuarum virtute fundatus, radicatus, misericordiae tuae
fundamentum confirmatum glorier acquisisse & delectatus in operibus manuum
tuarum, iustitiam & pacem mentis & corporis perseueranter adipiscar, & firme
custodiam gratia Spiritus tui sancti Domine plenaria in me operante, vt hostium
visibilium mihi aduersantium insidias atque versutias gaudeam superasse, Amen.
[122] Ista oration cum praecedentibus dat memoriam, facundiam & stabilitatem.
Omnium regnorum, visibilium quoque inuisibilium donorum dispensator, atque
Deus omnium voluntatum ordinator, consilio tui spiritus dispone, viuifica
virtutem debilem mentis meae, & ardeam in accessu voluntatis sanctae tuae ad
bonum: in beneplacito autem tui facias magnitudinem peccatorum meorum non
aspiciendo: largire mihi indigno quod opto, & rationem cognoscendi, intelligendi,
memoriter retinendi in me confirma, & effectum bonum cum gratia sensibus meis
accomoda, & iustifica me in iustificatione Spiritus sancti, vt quicquid ex carnis
macula & labe peccati contraxerim, diuina potentia tua ineffabiliter abluat, pietas
qua in principio coelum & terram creare voluisti, ita spiritualis tua misericordia
restauret, qua hominem perditum ad regnum sanctissimum reuocare dignatus es:
Tu Domine tua sapientia & scientia attingens, disponens omnia suauiter, omnes
sensus meos facundos in me restituas, vt ego indignus peccator & miser in
omnibus operibus tuis confirmatus, & perspicax & facundus, gratia Patris, & Filii,

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& Spiritus sancti largiente efficiar operante, qui viuis ac regnas trinus & vnus,
Amen.
[123] Oratio haec ad recuperationem amissi ingenii debet pronunciari.
Deus viuorum, dominator omnium creaturarum, visibilium {646} & inuisibilium,
administrator & fundator, omnia omnibus, singula singulis tribuens secundum
naturae facultatem. Ideo hodie gratia Spiritus sancti cor meum illustret &
multiplicet Spiritus sanctus, & corroboret interiorem hominem: & foecunda me
rore gratiae tuae, qua Angelos instruxisti: informa me largitate tuae scientiae, quam
a principio fideles tuos docuisti, vt operetur in me gratia septiformis, & superiori
celeri impetu fluminis de Libano puteum conscienciae meae corrigat, repleat &
exuberet, tu qui venisti de ccelis super aquas maiestatis tuae, & huius sacramenti in
me confirmes mirabilia.
[124] Ad recuperationem gratia Spiritus Sancti.
Profiteor tibi Deus meus hodie, pater omnium, qui secreta coelestia reuelas seruis
tuis, & terrena ostendis: te deprecor suppliciter, maiestatem tuam exoro, vt sicut tu
es Rex & Princeps nostrarum cogitationum, exaudi hodie preces meas dirigenter,
dignanter opera mea dirige, & actiones ccelestium virtutum in spiritu sancto
praevaleant. Clamo ad te hodie, Deus meus; exaudi clamorem meum, ingemisco ad
te, exaudi gemitum cordis mei hodie, & semper spiritum meum, & animam meam,
& totum corpus meum, sub tutela Angelorum tuorum praeserua. Spiritus sancte
Deus, cuius charitas perpetua ac ccelestis, cuius possessione coeli & terra plena est,
aspira ad hanc operationem meam, & quod in laudis tui honorem deuot & egeave;
postulo, mihi concede. Spiritus sanctus in me veniat, & regnet & imperet, Amen.
[125] Oration ad recuperationem ingenii & intellectus.
Domine ego seruus tuus nunc tibi hodie confiteor coram maiestate gloriae tue, in
cuius Spiritu sunt omnis magnificentia & sanctimonia: te deprecor secundum
ineffabile nomen tuum, quatenus ad meae operationis officium aures tuae pietatis
& clemens oculos tuos accommodes, & aperiente manum tuam gratiam quam
desidero satier, & foecunder charitate & claritate, qua coelum & terram fundasti,
qui viuis [et regnas solus per omnia secula seculorum]. Amen.
Istas orationes iam dictas proferas in primo die mensis, vsque ad quartum diem:
in quarta autem solas seqientes Alpha & Omega, & illam sequentem, scibest
Helischemat azatan, vt habetur in principio & postea die:
/

{647} [S147] Theos Megale patyr ymas heth heldya hebeath heleotezygel Salatyel
salus telh samel zadaziel zadan Sadiz leogio yemegas mengas omchon
Myeroym Ezel Ezely yegrogamal Sameldach Somelta sanay Geltonama hanns
Simon salte patyr osyon hate haylos, Amen.
O lux mundi Deus immense &c.
[S148] Tanta facundia per hanc adaugetur, vt nihil supra.

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Thezay lemach ossanlomach azabath azach azare gessemon relaame azathabelial

beliarsonor tintingote amussiton sebamay halbuchyre gemaybe tedayl hermayl
textos sepha pamphilos Cytrogoomon bapada lampda yochim yochyle tahencior
yastamor Sadomegol gyeleiton zomagon Somasgei baltea achetom gegerametos
halyphala semean utangelsemon barya therica getraman sechalmata balnat
hariynos haylos halos genegat gemnegal saneyalaix samartaix camael satabmal
simalena gacyach salmancha sabanon salmalsay silimacroton zegas me
bacherietas zemethim theameabal gezorabal craton henna glungh hariagil
parimegos zamariel leozomach rex maleosia mission zebmay aliaox gemois
sazayl neomagil Xe Xe Sepha caphamal azeton gezain holhanhihala semeanay
gehosynon caryacta gemyazan zeamphalachin zegelaman hathanatos, semach
gerorabat syrnosyel, halaboem hebalor halebech ruos sabor ydelmasan falior
sabor megiozgoz neyather pharamshe forantes saza mogh schampeton
sadomthe nepotz minaba zanon suafnezenon inhancon maninas gereuran
gethamayh passamoth theon beth sathamac hamolnera galsemariach
nechomnan regnali phaga messyym demogempta teremegarz salmachaon
alpibanon balon septzurz sapremo sapiazte baryon aria vsyon sameszion sepha
athmiti sobonan Armissiton tintingit telo ylon vsyon, Amen.

[S149] Azay lemach azae gessemon thelamech azabhaihal sezyon traheo emagal
gyeotheon samegon pamphilos sitragramon limpda iachim alna hasios
genonagal samalayp camiel secal hanagogan heselemach getal sam sademon
sebmassan traphon oriaglpan thonagas tyngen amissus coysodaman assonnap
senaly sodan alup theonantriatos copha anaphial Azathon azaza hamel hyala
saraman gelyor synon banadacha gennam sassetal maga halgozaman
setraphangon zegelune Athanathay senach zere zabal somayel leosamach
githacal halebriatos laboy del masan negbare phacamech schon nehooz
cherisemach gethazayhy amilya semem ames gemay passaynach tagaylagamal
{648} fragal mesi themegemach samalacha nabolem zopmon vsyon felam
semessi theon, Amen.
[S150] Sequitur tertia pars signum Lemach.
Lemach sabrice elchyan gezagan tomaspin hegety gemial exyophyam soratum
salathahom bezapha saphatez Calmichan samolich lena zotha phete him
hapnies sengengeon lethis, Amen.
[S151] Ad Memoriam.
Deus summe inuisibilis Theos patyr behominas Cadagamias imas per sanctos
angelos tuos, qui Michael id medicina Dei, Raphael, fortitude Dei: Gabriel ardens
holy per amassay Cherubin gelommetos Seraphin gedabanan tochrosi gade
anathon. Zatraman zamanary gebrienan plenitude sancte Cherubins per omnes
tuos angelos, & per omnes tuos archangelos gloriosos, quorum nomina a Deo
consecrata, quae a nobis proferri non debent, quae sunt haec, dichal, dehel
depymon exluse exmegon pharconas pharconas Nanagon hosiyel ozogon
gathena ramon garbona vramani Mogon hamas:

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[S152] & quae humani sensus apprehendere non possunt, te quaeso Domine, illumina
conscientiam meam splendore tui luminis, & illustra, & confirma intellectum meum
odore suauitatis Spiritus sancti, adorna animam meam, vt audiam, & audita
memoriter teneam, reforma cor meum Domine, płaca piissime viscera mea,
memoriam, aperi mitissime os meam: tempera benignissime linguam meam per
gloriosum & ineffabile nomen tuum, qui es fons totius pietatis, habeas patientiam in
me, & memoriam da mihi, &c.
[S153] Istae orationes quarta luna, sc. Hely schemath: Alpha & omega, Theos
megale. O lux mundi, Azaylemach, Deus summę te quaeso:
Debent proferri in 8. & 12. & 16. 20. 24. 28. 30. & in istis quibuslibet lunationibus
proferas quater, in summo mane semel, circa tertiam semel, circa nonam semel,
circa vesperas semel. Et nota, quod in aliis diebus nunquam proferas, sed illas
quas protulisti prima die, quae sunt: Alpha & omega helyschemat, Omnipotens
incomprehensibilis, Adoro te: Confiteor ego reus, O Theos hazamagiel, Domine
Deus misericors, extolle sensus carnis, omnium regnorum Deus viuorum: confiteor
hodie tibi Domine ego seruus tuus. Illas orationes iam dictas proferas in aliis
diebus in summo mane semel, circa tertiam semel, circa nonam semel, circa
vesperas semel: Et sic acquires {649} memoriam tantam & facundiam &
stabilitatem earum plenarie, Amen.
[S154] Conclusio operis totius, & confirmatio scientiae acquisitae.
Conditor omnium rerum Deus, qui cuncta ex nihilo creasti: qui gradatim omnia
mirabiliter ordinando fecisti in principio coelum & tetram, & cum tuo Filio, per
quern omnia facta sunt, in quo omnia finaliter recte retinentur, qui Alpha &
Omega nuncupatis, te quaeso, licet indignus peccatur, vt ad finem optatum in hac
sacratissima arte possim celeriter peruenite, & non in peccatis meis exigentibus
valeam amittere, cum bono fiat mihi secundum illam ineffabilem misericordiam
tuam: quia non secundum peccata nostra fecit nobis Deus, neque secundum
iniquitates nostras retribuat nobis, Amen.
[S155] Confirmatio cum conclusione flexis genibus deuote dicas semper in fine.
O Sapientia DEI Patris incomprehensibilis, Fili clementissime, tribue mihi per
ineffabilem misericordiam summae scientiae bonum, sicut mirabiliter omnem
scientiam Regi Salomoni dignatus es largiri, non aspiciendo eius scelera vel
peccata, sed misericorditer futurorum donum. Proinde clementissime deprecor &
exoro, quatenus mihi vilissimo peccatori aperias misericordiarum tuarum
largitatem, & in hac arte tribuas mihi talem finem, per quern in me manus tuae
largitatis potenter largiatur, vt ab hac media via impia valeat constringere, & per
lumen & semitas tuas valeam deuotius ambulare, & iube me aliis inde exemplum
tribuere, per quod possint omnes qui viderint me, & audiuerint, a vitiis resilire, &
per cuncta pie secula laudare, Amen. Sit nomen Domini benedictum. &c.
Has duas orationes semper in fine proferas, vt confirment in te scientiam
acquisitam.

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[S156] Benedictio loci.

Benedic Domine locum istum, vt sit in eo sancta sanctitas, castitas, mensuetudo,
virtus, victoria, sanctimonia, humilitas, bonitas, plenitudo, legis obedientia Patri,
Filio, & Spiritui sancto. Exaudi me Domine sancte Pater omnipotens aeterne Deus,
& mittere digneris sanctum Angelum tuum Michaelem, qui me custodiat, protegat,
foueat, & visitet me habitantem in hoc habitaculo, per eum qui. &c.
{650} Si vis operari, necesse est inspicere lunationes. Isti menses sunt eligendi, in
quibus O regnat in H, TO vt, Augustus, Junius, Julius, & O ente inTHQ^b in
istis signis incipias.
[S157] In Nomine Domini incipit ARS sanctissima, quam Altissimus DEUS
Salomoni super altare per Angelum ministrauit, vt per earn subito, & per breue
tempus in omni scientia fundaretur, & scias, in his orationibus contineri scientias
licitas & illicitas. Primo, si orationes pertinentes ad memoriam & eloquentiam &
intelligentiam, & ad illorum stabilitatem protuleris, augebunt ea omnia, ita quod
vix linguam reseruare poteris: quoniam omnia in solo verbo creata sunt, & solo
verbo stant omnia creata, & omne sacramentum, & Deus est ipsum verbum.
Credat ergo operans posse haberi tantam scientiam & sapientiam in proferendis
orationibus his, quia petenti firma fide, omnia possibilia apud DEVM, vt obtineat.
Item operans procedat in opere, fide, spe, & desiderio, scilicet quod habeat firmam
spem, rectam fidem, charitatem perfectam, & magnum desiderium firmiter
credendo, quia nihil habemus nisi per fidem. Ideo non est dubitandum in huius artis
operatione. Et sunt tres species, per quas haec ars potest haberi.
[S158] Prima species est Oration. & est piae mentis ratio, in vocem deprecationis
non tentando, sed legendo in sua interiora prorumpens. Secunda species est
ieiunium, & orantem exaudi DEUS hominem. Tertia species est castitas, qui vult
hanc artem operari, videat quod sit ad minus mundus ad operis implementum per
nouem dies. Ante artis inceptionem, cum in primis operari vis, necesse est vt
possis cognoscere Lunam primam, quando videlicet Luna est in tactu primo, tunc
in ista arte est. Vide ergo quando incipis operari duos ante mansionem, & ad
suscipiendum tarn saetatissimum opus, & confitearis quamto melius poteris
creatori, & vlterius debes cauere a peccatis mortalibus: & ad minus dum procedis
in isto opere, donee opus compleatur, & dum inceperis operari, die flexis genibus
hunc versum:
[S159] Illumina Domine vultum tuum super me Domine deus meus, & non
derelinquas me N. sperantem in te.
Et die tribus vicibus Pater noster. Et tunc pine quod periurium voluntatum
nunquam velis perpetrare, sed semper in fide, spe velis perseuerare. Hoc facto,
flexis genibus die in illo loco, in quo velis operari:
Adiutorium nostrum in nomine Domini, qui fecit coelum & terram: & introibo ad
inuocationem {651} Altissimi, ad eum qui illustret, purificet animam &
conscientiam meam. Qui habitat in adiutorio Altissimi, in protectione Dei cceli

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commorabitur. Aperi Domine quaeso dubia cordis mei, & mutabis me in nouum
hominem dilectionis tuae, est a mihi Domine fides recta: spes vitae, charitas
perfecta, ad enarrandum mirabilia tua. Oremus.
Die orationem sequentem.
[S160] Deus qui es Deus meus, a principio omnia creasti ex nihilo, qui Spiritu tuo
omnia reformasti, restaura conscientiam meam, & sana intellectum meum, vt
glorificem te per omnia opera mea cogitationum & verborum: conscientiam
emenda per eum qui tecum viuit in aeternum.
[S161] Nunc in CHRISTI nomine prima die mentis, in quo vis acquirere
memoriam, facundiam, & intelligentiam, & illarum stabilitatem cum corde
perfecto, corde contrito, cum dolore de peccatis perpetratis, corde bono, & optimo:
incipias proferre istas orationes quae sequuntur, quae pertinent ad memoriam in
omnem scientiam habendam, & quae compositae sunt & delatae Salomoni per
Angelum a manu Dei.
[S162] Prima oratio & vltima huius artis. Alpha & co: Deus omnipotens, &c.
Hane sequi debet oratio quatuor linguarum, quae est haec:
Hely, Schemat, Azatan, honiel sichut tarn, imel, latatandema, letromiam, theos,
Deus pie & fortis, Hamacha, mal, Gottneman, Alazaman, Actuaar, Secheahal,
Salmazan, zay, zoieracim, Lam hay, Masaraman, grensi zamach, heliamat,
seman, selmar, yetrosaman muchaer, vesar, hasarian Azaniz, Azamet
Amathemach, hersomini, & tu sacrosancte pie Deus, & incomprehensibilis in
omnibus operibus quae sunt sancta, iusta & bona, magol, Achelmetor, samalsace,
yana, Eman, & cogige, maimegas, zemmail, Azanietan, illebatha sacraman,
reonas, grome, zebaman, zeyhoman, zeonoma, melas, heman, hathoterma,
yatarmam, semen, semetary, Amen.
Hane sequi debet oratio prima de decem, quam superius inuenies.
[S163] Ad omne opus agendum.
Haec scribi debuit superius post tertiam orationem,
Confiteor. O Theos hazamagiel gezuzan, sazaman, Sathaman, getormantas,
salathiel, nesomel, megal vuieghama, yazamir, zeyhaman, hamamal amna,
nisza, deleth, hazamaloth, moy pamazathoran hanasuelnea, sacromomem,
gegonoman, zaramacham Cades bachet girtassoman gyseton palaphatos halathel
Osachynan machay, Amen.
{652} [S164] EXPERIMENTUM verum & probatum ad intelligendum omnes artes
& secreta totius mundi, & onem thesaurum & mineralia effodi possunt: hoc de
angelo coelesti reuelaqtur in hac arte notoria. Narrat etiam haec ars de
contingentibus futurisque: sensusque reddit habiles ad omnes artes, breui sub
compendio, breuique temporis vsu diuino ministerio. Item dicendum est de
tempore & loco. Primo autem omnia praecepta conseruanda erunt, debetque
operans esse purus, & sancta confessione prima poenituisse, & amplius a peccatis

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cessare cupiens, vel etiam si laicus tractatus qualescunque voluerit inuestigare, tali
conditione vt est, procedat, & plenarie inuestigabit quodlibet opus diuino
ministerio.
[S165] Cum igitur operari volueris in Nouilunio, cum primo earn inspicis, die flexis
genibus hunc versum: Illumina Domine vultum tuum super nos, & ne derelinquas
nos Domine Deus noster, & die tribus vicibus Pater noster. Et post hoc vouet Deo,
quod nunquam voluntarium periurium volet perpetreare, & quod semper in fide
Catholica velit perseuerare. Hoc facto de nocte genibus flexis die ante lectum
tuum: Adiutorium nostrum in nomine Domini, &c. Et Psalmum, Qui habitat in
adiutorio altissimi, vsque ad finem, & orationem Dominicam, & orationem
sequentem.
[S166] Theos patir vehemens, angelorum Deus, rogo & inuoco te per sanctissimos
Angelos tuos Eliphamasay gelomicros gedobonai Saromana elomnia: et per
angelos tuos, quorum adeo consecrata sunt nomina, vt a nobis proferri non debent,
quae sunt hae: de: el: x p n k h t li g y y de humanis sensibus fari non possunt, nec
comprehendi, te queso munda conscientiam meam Splendore nominis tui, illustra
& confirma intellectum meum per Spiritum sanctum in odore suauitatis: adorna
Domine animam meam, vt audita intelligam, & intellecta memoriter teneam:
Reforma Domine cor meum, restaura Domine Deus sensum meum, placa piissime
Deus viscera mea, aperi mitissime os meum, tempera piissime linguam meam ad
laudem & gloriam nominis tui, per gloriosum & inffabile nomen tuum Domine,
qui es fons bonitatis, & totius pietatis origo, habe patientiam in me, & da mihi
verum intellectum, scilicet non plus sapere qua oportet, & istud memoriter
retinere, tu qui peccantem non statim iudicas, sed poenitentiam misertus expectas,
te quaeso indignus, vt facinorum & scelerum meorum squalores abstergas, & me
petitione tanta per angelorum tuorum virtutes, de quibus praefatus sum, efficacem
{653} facias, ad laudem & gloriam tui nominis, qui in Trinitate perfecta viuis ac
regnas Deus, per omnia secula seculorum, Amen.
[S167] Sequuntur alia praecepta in hoc opere seruanda.
Sequent! die ieiuna in pane & V dando eleemosynam, & si fuerit dies Dominicus,
tune duplica eleemosynam, & expiabit ieiunium, sis mundus in corpore & anima,
& si fuerit ferialis dies, balneare, & mundis vestibus induaris.
[S168] Sequitur processus.
Cum ergo operare volueris de aliqup difficili problemate, seu quaestione, flexis
genibus ante lectum tuum pure confitere Deo Patri, factaque confessione die hanc
orationem.
Mitte Domine sedium tuarum assistricem Sapientiam, vt mecum sit & mecum
laboret, & sciam quid acceptum sit coram te omni tempore, & mihi N. manifestetur
veritas huius quaestionis vel artis.
[S169] Hoc dieto, ter in die sequenti cum surrexeris regratiare te oportet DEO
omnipotent! dicendo. Gloria, & honor, & benedictio sit sedenti super thronum,

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viuenti in secula seculorum, AMEN. Flexis genibus, & manibus expansis.

[S170] Si autem volueris habere notitiam alicuius libri, quaere ab aliquo sciente,
vnde tractat liber: hoc facto aperi librum in ipso legendo, post operare vt prius
dictum est, tribus vicibus, & semper cum is dormitum, scribe f & postea vero
Alpha & Omega, & in dextro latere obdormias locando palmam subtus aurem: &
videbis somniari omnia quae optabis. Et audies vocem personae te informantibus in
illo libro, vel in alia facultate quacunque, de qua operaris. Facto autem mane aperi
librum in ipso legendo, & statim habebis eius intellectum, ac si longo temporis vsu
in ipso studuisses, & semper regraciare Deo sicut dictum est.
[S171] Postea prima die die hanc orationem.
O pater creaturarum omnium opifex, per tuam ineffabilem potentiam, qua omnia
condidisti, excita potentiam tuam & veni ad me saluandum, protegendo me ab
omni aduersitate corporis & animae. Amen. De Filio vero. CHRISTI Fili Dei viui,
qui es splendor & figura luminis, apud quem non est transmutatio, nec
vicissitudinis obumbratio, tu verbum Dei altissimi, tu sapientia Patris, aperi mihi
indigno famulo tuo N. venas Spiritus salutaris, vt sapienter intelligam, & intellecta
memoriter teneam, vt enarrem {654} vniuersa mirabilia tua. O sapientia qui ex ore
Altissimi prodiisti, attingens a fine vsque ad finem fortiter, suauiter disponensque
omnis, veni ad docendum me viam prudentiae. Deus qui discipulis tuis sanctum
dedisti Spiritum, & eorum corda illustrare & docere dignatus es, tribue mihi
indigno famulo tuo N. in eodem Spiritu recte sapere, & in eius consolatione
semper gaudere.
[S172] Alia praecepta.
Finitis istis orationibus, & datis eleeosynis, deuote cum intraueris cubiculum tuum,
prosternas te ante lectum tuum, dicendo Psalmum: Miserere mei Deus secundum
magnam misericordiam tuam. Et: In te Domine speraui, sicut solet legi in
completorio: & his dictus erige te, & vade ad parietem, & expande manus tuas in
modum crucis faciendo vel habendo duas clauos fixos, quibus manus sustentas
dicendo hanc orationem quae sequitur tota mentem deuotione.
[S173] Deus qui pro nobis miseris peccatoribus crucis patibulum & mortis
supplicium subire voluisti, cui etiam Abraham filium suum immolauit Isaac, Tibi
ego hodie indignus famulus tuus, peccator & multis malis perplexus immolo &
sacrifice animam meam & corpus meum, vt mihi sapientiam salutarem influas &
inspires qui prophetis spiritum propheticum indidisti.
[S174] Post hoc die Psal. Verba mea auribus percipe Domine &c. Et subiunge:
Dominus regit me, et nihil mihi deerit in loco pascuae ibi me collocauit indignum
famulum suum N. super aquas refectionis educa[ui]t me, animam meam conuertit, et
educat me N. super semitas iustitiae propter nomen suum sanctum. Vespertina
oratio descenda ad te Domine, & descendat super me indignum famulum tuum N.
Misericordia tua, protege, salua, benedic, sanctifica me per signaculum sanctae
crucis, vt sit mihi obstaculum contra saeua iacula omnium inimicorum meorum:

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defende me Domine per lignum sanctum & per precium iusti sanguinis tui cum
quo me redemisti, qui viuis & regnas Deus: cuius sapientia coelum stabiliuit,
terram formauit et mare in termino suo collocauit, et omnes creaturas per
simplicem emanationem condidit: et hominem de limo terrae ad imaginem et
similitudinem suam plasmauit: qui Salomoni filio regis Dauid sapientiam
inaestimabilem donauit, Prophetis propheticam scientiam tribuit, Philosophis
philosophicam scientiam mirifice inflauit, Apostolis fortitudinem {655} elargitus
est, Martyres confortauit, confessores sanctimoniis confirmauit, Virgines
virginitatis flore conseruauit: qui ab aeterno electos suos exaltat et prouide
praeeleget, multiplica super me indignum famulum tuum N. Domine Deus
misericordiam tuam dando mihi ingenium docile et intellectum virtutibus et
scientiis decoratum, memoriam firmam, vt mirabiliter retineam assequens adipiscar,
et celsitudine tui nominis ineffabiliter subseruiens valeam complacere: et illumina
Domine vultum tuum super me Deus meus sperantem in te. Veni ad docendum me
Domine Deus virtutum, et ostende mihi faciem tuam, et saluus ero.
Et subiunge Psal. Ad te Domine leuaui animam meam, Deus meus in te confido;
excepto illo versu, Confundantur.
[S175] His completis in pariete descende ante lectum tuum, scribens in dextra
palma Alpha & cd: & tune ponas te dormitum & dormias tenendo in dextro latere
palmam sub dextra aure, & videbus magnificentiam Dei quam optasti. Mane
autem flexis genibus ante lectum tuum regratiare Deo pro his quae tibi reuelauit.
Gratias tibi ago Deus magne & mirabilis, qui dedisti salutem & perspicacitatem
scientiarum mihi indigno famulo tuo N. & confirma hanc Deus quam operatus es
in me salubriter conseruando, gratias ago tibi Domine Deus immense, qui me
miserum peccatorem cum non essem creasti, & cum perditus essem pretioso
sanguine filii tui Domini nostri lesu Christi me redemisti, & cum ignorarem
doctrina ac scientia salutari, concede quaeso mihi indigno famulo tuo N. Domine
lesu Christe vt per hanc scientiam in tuo sancto seruitio semper stabilis merear
inueniri. Amen.
[S176] Completa totali operatione & deuote peracta, omni die deinceps regratiare
de his vltimo dictis orationibus. Cum autem legere vel studere volueris, vel
disputare die.
Memor esto verbi tui seruo tuo Domine, in quo mihi spem dedisti, hie me
consolatus est in humilitate mea, & subiunges orationes has:
Recordare mei Domine omni potentatui dominans, da sermonem rectum & bene
sonantem in os meum, vt alios in formem & audiar efficaciter ad laudem & ad
gloriam & honorem nominis tui gloriosi qui est a & cd benedictus in secula
seculorum.
Tunc sub silentio die has orationes:
O Domine Deus innoua signa & immuta mirabilia Spiritu sapientiae & intellectus &
facundiae me replendo: & pone os meum vt gladium acutum, & linguam meam vt

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sagittam electam, & verba oris mei confirma ad omnem sapientiam, corda quoque
{656} audientium liquefac desiderent suscipere Elysenac tzacham, &c.
[S177] De modo consecrandi figuram memoriae.
Debet consecrari summa fide, spe & charitate, & cum iam fuerit consecrata, serua
& ea sic vtaris in operatione.
Primo die nouilunii inspecta noua luna, pone earn sub dextra aure, & consequenter
in aliis noctibus, & cum de die earn inspicias septem vicibus. Primo in hora
matutinali dicendo Psalmum. Qui habitat, per totum & orationem dominicam
semel, & orationem Theos patyr semel in hora prima diei. Et die deinde Psalmum
Confitebor tibi Domine in toto corde meo quoniam audiuisti omnia verba oris mei
& orationem dominicam bis, & orationem Theos patyr bis. In hora tertia diei
Psalmum Benedicat anima mea Dominum & omnia quae intra me sunt, &
orationem dominicam ter, & orationem Theos patyr.
In hora sexta die psalmum, Appropinquet deprecatio mea in conspectu tuo
Domine secundum eloquium tuum: da mihi memoriam, & vocem meam audi
secundum magnam misericordiam tuam, & secundum auditum tuum da mihi
facundiam. Eructabunt labia mea imperium cum docueris me glorificationes tuas.
Gloria patri, &c. Orationem dominicam nouies & Theos patyr.
In hora nona die Psalmum, Beati immaculati in via & orationem dominicam 12. &
orationem Theos patyr. In hora vesperorum die Psalmum: Deus misereatur nostri
& orationem dominicam 15. & Theos patyr toties. In hora completorii die Psalm.
Deus Deus meus respice in me & Deus in adiutorium meum intende, & te Deum
laudamus, & orationem dominicam semel & Theos patyr. Et ista oratio quae
sequitur bis dum profertur.
Deus qui omnia numero, pondere, mensura horarum dierum & noctium patens
diuisio, qui semper Stellas solus dinumeras, metire me, tribue constantiam
efficacem, vt in huius artis N. vera cogitatione te diligam & munus tuae pietatis
cognoscam, qui viuis & regnas, &c.
[SI 78] Per quatuor dies consecratur figura memoriae per orationes:
O pater creaturarum omnium Solis & Lunae.
Tunc vltima die debet se balneare & mundis vestibus se induere mundis
lectisterniis vti in loco secreto suffumiget thure, & venias in nocte hora debita cum
incenso lumine, vt nemo {657} te videat, & ante lectum genibus flexis die summa
cum deuotione hanc orationem.
Summe pater piissime, nouies vel septies, postea respicias figuram cum reuerentia
circa caput, & obdormias in lecto indutis lineis vestibus mundis & non dubites
quicquid petietis obtinebis: & est per multos probatum quibus concessa sunt
secreta coelestia regni, Amen.

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Figure 156: Figure of Memory

[S179] Sequitur oratio quam dicere debes vt supra stat.
Summe Deus pater piissime sanctorum sanctificator sanctissime, trinus & vnus,
altissime rex regnum, fortissime Deus omnipotens gloriosissime & dispensator
prudentissime moderator rector omnium creaturarum visibilium & inuisibilium,
Deus potentissime, cuius terribibilis & ineffabilis maiestas metuenda, cuius
omnipotentia coelum & terra mare, infernus & omnia quae continet, quam mundi
machina admirantur & venerantur, tremunt & obediunt: Deus Sabaoth inuincibilis
Deus fortissimus insuperabilis. Deus magnus & immensus quern capit nullus
sensus, super omnia amabilis instructor admirabilis, eruditor inuincibilis
magistrorum ex {658} tunc doctor doctorum sapientissime simplicium instructor
mitissime amator humilium benignissime Deus scientiarum & Deus sapientiarum,
in quo sunt omnes thesauri sapientiae & bonae scientiae, qui solus absque labore &
sine mora sapientiam & omnem scientiam quemuis hominem docere seis & potes,
si vis, qui es praesentium, praeteritorum, & futurorum peruigil inspector &
omnium cordium assiduus perscrutator, per quern sumus viuimus & moriemur:
qui sedes super cherubin, intueris solus abyssos disponis, discernis, regis & dirigis
vniuersa: confiteor hodie coram sancta & tremenda nimis ineffabiliter gloriosa
maiestate & coram omnium ccelestium virtutum & potestatum consortio gloriosam
maiestatem laudans, ac benedicens te Deum & Dominum meum & invocans
nomen tuum magnum, & mirabile super me, & quod est super omne nomen:
deprecor itaque te altissime Domine omnipotens, adorante, colende, tremende
Deus magne adonay & omnium beatitudinum, dignitatum latitudinum mirabilis
dispensator omnium bonorum optimorum cuiusque vis, largissimus erogator, vt
dementer abundanter & permanenter digneris super me hodie multiplex donum
Spiritus sancti gratiae infundere, Et nunc te clementissime Domine, qui Adam
primum hominem ad imaginem & similitudinem tuam creare dignatus es
immittere dignare & confortare templum corporis mei & velis in toto corde meo

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hospitari descendens a splendidissimo templo coelorum lucidissimo gratiae &

ineffabili maiestatis omnipotemtiae, secundum quod mirabiliter in sanctis fidelibus
tuis operatus es, sic mitte mihi hodie altissime & benignissime rex aeternae gloriae
Deus admirabilis & sanctissime de sede gloriosae maiestatis dominationis tuae
multiplicem benedictus septiformis gratiae tuae Spiritum sapientie & intellectus,
Spiritum fortitudinis & consilii, spiritum scientiae & pietatis, spiritum timoris &
amoris tui ad cognoscendum tuam incomprehensibilem voluntatem & ad
proficienda & intelligenda, miranda valde sancta mysteria tua & occulta sapientiae
tuae, quae manifestare te decent, & quae latent & expediant tuis scire: Sed vt valeam
mihi inuestigare & comprehendi profundam benignitatem, ineffabilem
dulcedinem misericordiae tuae immendae pietatis & diuiuitatis tuae Et nunc tu ipse
clementissime Domine, qui olim in faciem primi hominis inspirasti spiritum vitae
digneris hodie in corde meo clemanter & permanenter infundere vnum & verum
& subtilem & perseuerantem, valentem, rectam & perfectam, in omnibus
intellectum, {659} memoriam indeficientem viuacem & tenacem: efficacem
facundiam sancti spiritus gratiam mellitam ignitam & expeditam & perfluentem,
vt de multiplicatione benedictionum tuarum & largiflua permanenter dotatus,
omnia contemnenda despiciam & te solum Deus omnium, qui es verum summum
& salutiferum & inaestimabile omne bonum, super omnia ardenter glorificem,
laudem adorem, benedicam & exaltem te regem regum & dominum dominantium
in omni tempore & semper laus tuae magnificentiae, tuae misericordiae &
omnipotentiae sit in ore meo & anima mea flammescart iugiter & in aeternum
coram te: qui es omnipotens Deus, omnium rex, pax summa & sapientia vera,
dulcedo insatiabilis, suauitas inaestimabilis, ineffabile gaudium omnium bonorum,
desiderium beatorum, vita, societas & finis gloriosus; qui fuit ab aeterno & est &
semper erit virtus inuincibilis, solus impassibilis, splendor inextinguibilis
benedictio & claritas, honor laus, & venerabilis gloria ante & vltra omnia secula
seculorum tempora, Amen.
[S180] Oratio sequens habet vim repellendi omnem libidinem voluptatis.
O Domine sancte pater omnipotens aeterne Deus inaestimabilis misericordiae &
pietatis immensae. lesu Christe piissime conditor, reparator & gubernator generis
humani. Spiritus sancte paracletus fidelium omnium amator, qui tribus digitis
apprehendisti molem terrae, & libras in pondere montes & colles in statera, & qui
facis inscrutabilia & magna mirabilis solus: cum nil sit quod possit resistere tuae
voluntati, cuius viae inuestigabiles, defende animam meam & libera cor meum de
prauis huius mundi cogitationibus: incensus libidines & omnes fornicationes in me
potenter extingue & reprime, vt actibus tuis intentius delectetur, & augeatur in me
virtus Spiritus sancti per salutem & remuneratione, fidelium in salutem animae
meae & corporis mei ac cordis mei. Summe piissime Deus conditor ac redemptor &
reparator generis humani, ego seruus tuus & filius ancillae tuae opus manuum
tuarum. Misericordissime Deus & redemptor ante conspectum tuae maiestatis
immensae gemebundus assisto damans, deprecans, postulans instanter toto cordis
affectu, vt me miserum peccatorem de tua magna misericordia confidentem
recipias, me scientiis ac scripturis eloquentem {660} audiuerint verba mea in corde

385
 Ars Notoria

suo melliflua sentiant, qui viderint & auduyerint sapientes, mansueti, superbi,
humiles, cunctantes & tanta humilitate audiant, intelligant, & mea verba bene
sentiant melliflue, deifica, pacifica tuorum beneficiorum exhibitorum considerata
qui viuis & regnas nunc & in aeternum. Amen.
Nota, Si aliquod tibi ignotum scire volueris & maxime de scientiis lege istam
orationem: confiteor tibi hodie coeli & terrae, trina vice, & semper in fine debes
exprimere id pro quo postulas exaudiri. Postea de sero quando volueris ire
dormitum dicas flexis genibus orationem Theos per totum, deinde psalmum: Qui
habitat cum versiculo: Emitte Spiritum tuum: Et vade dormitum, & cape figuram ad
hoc deputatam, & pone sub aure dextra, & hora secunda noctis vel tertia videbis ea
quae postulasti, & scias sine dubio, quia experieris, & scribe ad manum dextram
Alpha & Omega cum signo crucis, & pone eandem manum sub aure dextra, &
eadem die ieiunabis in cibis quadragesimlibus semel comedendo.
FINIS.

386
 Appendix O - The Notae in Numerical ID Order
Id SN Subject Example Nota Id SN Subject Example Nota

-*
Grammar, etc.
n

7 3 Grammar

Grammar -
1 3
all ■
Mellon 1 - f. llv

VI iu •> -t -i- i I
Dialectic
Bn F7152-f. 1.' V
. ■ j

• *
111®?

2 3 Rhetoric 8 2 Dialectic

1 i
BnF 7152 - f. 16 V BnF 9336 - f. 20

t ■

a >1

3 1 Grammar 9 1 Dialectic

7 1 *
Mellon 1 - f. lOv BnF 9336-f. 19v

fff' fsöb
<

4 2 Grammar 10 1 Dialectic

Mellon 1 - f. 1' Mellon 1 - f. 12

5 1 Grammar 11 2 Dialectic

Turin EV 13, f. 1 Mellon 1 - f. 12v

1KB
■ ii
.• ŁsaiecĄi. _ ■ !
6 1 Grammar 12 1 Dialectic

it
y..'?
BnF Lat. 9336 - f. 18 BnF 7152 - f. 14v

387
 Ars Notoria

Id SN Subject Example Nota Id SN Subject Example Nota

Rhetoric
SMS
19 1 Arithmetic sx
Sloe ne 1712 - f. 36v
-c
13 1 Rhetoric

Mellon 1 - f. 13

Arithmetic
20 3
- semi-figure
K /T
14 2 Rhetoric
1 M
Mell on 1 - f. 14v - b

= .
Music
Mellon 1 - f. 13v

. j
15 3 Rhetoric 1 21 1 Music

BnF 9336 - f. 23v Mellon 1 - f. 16v - r

o
Physic (Medicine)

O|

16 4 Rhetoric
J
aM l
$ 22 2 Physic
Mellon 1 - f. 14 - b 1
its «'gfaSL
V
Arithmetic
Turin EV 13, f 23v

4——--A

17 1 Arithmetic 23 1 Physic
Mellon 1 - f. 14v - a

Mell on 1 - f. If v - t

& I _£»
18 2 Arithmetic 24 1 Physic

Turin EV 13 - f. 21 BnF 9336 - f. 21 v - a

388
 Ars Notoria

Id SN Subject Example Nota Id SN Subject Example Nota

Astronomy

X
31 2 Astronomy

25 3
Nota of the Heavenly
Stars/Planets has
been moved ->
' 0/ BnF 9336 -f. 24 ir-b
5th General (see 61)
»

CLM 276 - 17v - a

32 6 Astronomy

Astronomy
26 -
-all B nF 9336 - f. 22 - d

Sloane 1712 - f. 37 - b
Philosophy
z S

1 Ell ’P’ fifl’ivK 1 Ip® ~ 1

\ '4ä \\ fl«”'.’iPu«>

iiL
11
27 3 Astronomy 33 1 Philosophy

JSi
■
BnF 9336 - f. 22 - a Melk>n 1 - f. 14v - c

// IP ,rtu> fl 1

28 4 Astronomy 34 2 Philosophy

' ■

BnF 9336 - f. 22 - b
Mellon 1 - f. 15 - a
siij.

29 5 Astronomy

HsBt
BnF 9336 - f. 22 - c
35 3 Philosophy

Melksn 1 - f. 15-g

/I
30 1 Astronomy 36 3 Philosophy

BnF 9336 - f. 24v - a BnF 9336 - f. 2 7v-b

389
 Ars Notoria

Id SN Subject Example Nota Id SN Subject Example Nota

s j

37 4 Philosophy 43 7 Philosophy u

T y tt,'
1
Me Ion 1 - f.' 5-h BnF 9336 - f. 25v - a

Ł B>X
w

f
ft
38 5 Philosophy 44 1 Geometry

ft ft.

Mellon 1 - f. 15v - j

cQ
BnF!1336 - f.
goi 1

1
39 2 Philosophy 45 1 Philosophy

3£3b
Nä
BnF 9336 - f. 27v - a BnF 9336 - f 27-b

!
»■'*
40 4 Philosophy 46 7 Philosophy
Ora, '

BnF 9336 - f. 25 - < dellon 1 - f 16-1

Theology

41 6 Philosophy
• v / \i

47 1 Theology
Mellon 1 - f. If>v - k

1 'IN
BW Mellon 1 - f. 16v - z

lx I
’S
42 6 Philosophy

i
.? I 47
1 Theology
BnF 9336 - f. 25 - c a

Mell on 1 - f. 17-a

390
 Ars Notoria

Id SN Subject Example Nota Id SN Subject Example Nota

'> Sr

-
48 2 Theology 54 2 Geometry WS®
T

Mell an 1 - f. 17-b Sloane 1712 - f. 37-a

«»a dsJkprT—r

J vZ rjrC
49 3 Theology 55 1 Geometry

-1

Mellon 1 - f. 17 - c Mel Ion 1 - f. 1 4 - a

General

I
50 4 Theology V / \ /
A /VTlAsV
-*1' /
’ nitJn fHX

56 1 General
Mellon 1 - f. 17 -d

Mellon 1 - f. 16 - rr

jAs •
51 5 Theology •«5/
!
( Hi

57 2 General
BnF9 336 - f. 28 - a
i «
a. —
Mellon 1 - f. 16 - n

52 5 Theology

58 3 General
IV ellon 1 - f. 17v

Geometry Mellon 1 - f. 16 - o
1

General - captioned
3rd General (scribal
53 1 Geometry w 59 4
mistake), but really
4th General
-v-.x^ 1

Turin EV 13, f. 1 6v CLM 276 - f. 16v - b

391
 Ars Notoria

Id SN Subject Example Nota

60 4 General

Mell on 1 L6 - p

General
61 5
(see 25)

N [ellon 1 - f. 16v - q

Virtues, etc

Self-Mastery &
62 -
Silence

Mellon 1 - f. 1 6v - s

Aj.*|f . i

63 - Wonders & Marvels

Mellon 1 - f. 16v - x

13
■1
5)x

64 -
Exceptives
(Magic, etc)
I
Mellon 1 f. 1 Sv - v

■1 ,.:OI
65 - Chastity

ft
BnF 9336 - f. 28 -13

392
 Ars Notoria

Id SN Subject Example Nota Id SN Subject Example Nota

'i
Theology

» \ If
77 2 Arithmetic
■ 1-

72 1 Theology t t
BnF 9336 - f. 24 - c

BnF 9336 - f.26 -b 1*0

78 -
Self-Mastery &
Silence
sHiAS
1 IHn te ii

73 2 Theology
i
BnF 9336 - f. 28v -b

El
Bn F 9336 - f.26v - a
* i

L
79 4 Rhetoric 1 -
\

74 4 Theology
k
BnF 9336 - f. 21

Bn F 9336 - f.26v -b . *
paf 80 2 Geometry

75 3 Theology
BnF 7152 - f. 22v

BnF 9336- f. 26v - c ted

Later Additions 82 1 Music
O
■
te

BnF 9336 - f. 21 v - b

Sjl*
76 1 Arithmetic
d ilte iX
’ ■ te d

Bn a
1
.

Figure 157: The Notae in numeric ID order. The total number of notae in this table does
not match the notae totals of Figures 23-25, because of the addition of 4 notae from
Turin EV 13 added to this table.

393
Appendix 1 - Table of Subjects

Subject Section

Any work S163-S166

Arithmetic 134,142-143
Astronomy 117
Dialectic/Logic 75, 79, 80,133,135-137
Eloquence 22-23, 59, 61-63, 66, 76, 95,116-117,121-122, S148
General 69-70, 87, 97
Geometry 134,146
Grammar 74, 78a, 81,128-130
Memory 24-25, 36, 47-48, 66,120-122,128, S151-S153, S161-
S162
Philosophy 91-96, 99-105,134
Physic [Medicine] 28-31
Rhetoric 76,138-142
Theology 34, 89, 90,115,146
Figure 158: List of Subjects treated by the notae.

It can be seen that general abilities like eloquence and memory are better
catered for than specific subjects like astronomy, which is understandable
as improvement of those abilities make learning and presenting specific
subjects much easier. More subject detail will be found in Version B.

395
Appendix 2 - Structure of the Sections, Prayers, Orations
& Notae
The arrangement of the text of Ars Notoria is not very clear or consistent.
This Appendix is designed to show the overall structure of the Ars
Notoria at a glance, rather than forcing the reader to wade through the
text to understand how it is structured. The text is analysed Section by
Section in Figure 159.
The method of the Ars Notoria has three main ingredients: Latin prayers,
Orations in the form of verba ignota and the notae, and these headings
have been used in the Table in Figure 159. Apart from the introductory
Flores Aurei, the text is structured as three sets of Orations (1-17,1-7,1-10
Orations).
Much depends on the page layout, which varies from one manuscript to
another: the prayers may be in the text and not repeated in the figures,
or they may be in both text and figures, or they may appear only in the
figures. Latin prayers sometimes inscribed both in the text and in the
figures are supposed to be uttered only once in the ritual.
We have not translated the opening words of the Latin prayers in the
Table as they are designed to simply identify the prayer. A full
translation of these occurs in the text itself (see Chapter 7).
The Prologue gives the supposed history of the art, its transmission from
God via an angel to Solomon, and its later translation or redaction by
Apollonius. Some manuscripts also give the first prayer Alpha et Omega.
1. Flores Aurei, or the Golden Flowers by Apollonius is the first and largest
treatise. The art is divided into two parts: the first or General part to
strengthen the practitioner's memory, eloquence and general
intelligence, the second or Special part to give him mastery over specific
subjects.
a. The General part is divided into various prayer sequences:
i. The Tria Prima Capitula series aims at attracting God's grace to
the practitioner. It consists of: Help scemath; Theos, Megale; Lux mundi.
ii. The Triumphales Orationes strengthen the memory, eloquence
and intelligence of the practitioner and contain 6 prayers:
Assaylemath; Assay Lemeth [Hazaylemaht]; Lemath [Lemahc]; Lameth
[Lamehc]; Deus summe Deus; and Te queso Domine.

396
 Ars Notoria

iii. A set of two prayers: lesus fill Dominus [lesu Dei Filius]; and
Elleminator, Candones [Eleminator, Caudones].
iv. A set of three prayers: Earned, Rogum; Semeht; and Memoria
irreprehensibilis.
v. A set of twelve prayers: Achacham; Hielma; Confirma; Agloros;
Deus omnium; Megal; Veritas, Lux; Hely, Eatur, Bael; Ego in
conspectu; Gemot, Geel; Omnipotens aeterne Deus; and Semoht.
b. The Specials part or 17 Orationes speciales is divided into:
i. Trivium (Grammar, Rhetoric, Dialectic) which is encapsulated
in eighteen prayers: Lux, veritas; Domine sancte Pater; Respice
Domine Deus; Creator Adonay; Sancte Deus Pater; Heloy
Clementissime; Omnipotens misericors Pater; Hanazay; Unus magnus;
Vision; Azelechias; Scio enim; Reverende potens; Deus qui omnia
numero; Mediator omnium; Deus justus judex; Omnis sapientiae; and
Adoro te rex regum.

ii. Quadrivium (Arithmetic, Geometry, Music, Astronomy)1 &

Tost graduate' subjects (e.g. Philosophy and Theology) covered
by a sequence of 14 prayers divided into 7 Orations: Ezomamos;
Domine Deus...incomprehensibilis; Domine sancte Pater; Deus semper;
Lemogethon; Vita omnium; /loht] Omaza; Rex regum; Deus Pater
immense; Gezomothon; Rex aeterne Deus; Deus totius pietatis; Deus
Pater immense; and Hosel.
2. Ars Nova has a quite different style, and offers a more rapid procedure
with less regulations and timing caveats. It consists of 10 prayers
(a set of 10 Orations): Omnipotens, incomprehensibilis; Adoro te, rex
regum; Confiteor ego tibi; Otheos; Pientissime Deus; Pie Pater; Extollo
sensus; Omnium regnorum; Deus, vivorum dominator; Profiteer tibi
Deus mens hodie; and Domine ego serous tuus.
3. The Novem Termini are missing from Turner, but consist of nine
prayers: Genealogon; Geolym; Agenos; Genathores; Semathymoteham;
Gerogueguos; Magnus; Remolithos; and Hamolehon. Their Prologue
consisting of two prayers: Conditor omnium Deus rerum and O
sapientia Dei does appear in [SI54] and [SI55].
See the following Table to see how this prayer structure relates to the
rest of the parts of the Ars Notoria.

1 Sometimes Medicine is mistakenly included in the Quadrivium.

397
 Ars Notoria

Figure 159: Table of the Sections, Prayers, Orations & Notae.

Oration
Section Latin Prayer Notae
verba ignota

1-3 Prologue

5 Part 1 - Flores Aurei [For Memory, Eloquence & Intelligence]

First nota (1st

6 -
Grammar)
[First Precept/First Oration] Hely scemath,
7
Amazaz, Hemel
Lux mundi. Deus immensae pater
aeternitatis - Theos, Megale, in
10-11
Oh God the Light of the World. tu ymas Eurel
God immense father of eternity.
12-15 [explanation] -
Assaylemath, 2nd Grammar
16 Assay Lemeth
Lemath, Sebanche
17-21 [explanation] -
[Oration to be said monthly] Lameth, Leynach,
22
Semach, Belmai
Deus summe Deus inuisibilis - Theos Patir
24
0 Most Mighty God Heminas
Te queso Domine -
25 -
I Beseech thee, 0 my Lord
28-31 [Medical Art] -
lesusfili Dominus Ancor, Anacor,
Incomprehensibilis - Anylos...Phagora /
29
Jesus son of the incomprehensible Elleminator,
Lord Candones helosi,
Memoria irreprehensibilis - Lamed, Rogum, 1st Theology
34-36 Oh Eternal and Unreprehensible Ragia, Ragium
Memory
37-42 [explanation] -
[The Oration of 4 Parts] Achacham Yhel,
43
Part 1. Chelychem,
Deus Pater...Confirma -
Hielma, Helma,
46-47 Oh God the Father...Confirm this
Hemna
Oration

398
 Ars Notoria

Oration
Section Latin Prayer Notae
verba ignota

Part 2. Aglaros,
50-51 Deus omnium - Theomiros,
Oh God of all things Thomitos
Part 3.
Megal, Ariotas
52-53 Veritas, Lux, Via omnium - Oh
Lamazai, Jeconai
thou art the Truth, Light, and Way
Part 4. Hely, Latur, Bael,
Ego in conspectu - Zedec, Azaras
54-55
I speak these things Amasiel, Danyi,
hayr
56-61 [explanation] -
[Oration for General and all Gemot, Geel,
62
Liberal Arts] Zabael, Gezezai
Omnipotens aeterne Deus -
64-65, Semoht [Semet],
Oh omnipotent and eternal God
69 Lamen, Gezeil

71 Part 2 - Of the Liberal Arts or Trivium

1st Grammar,
74 - 2nd Grammar,
3rd Grammar
1st Dialectic,
75 -
[explanation] 2nd Dialectic
1st Rhetoric,
2nd Rhetoric,
76 -
3rd Rhetoric,
4th Rhetoric
77-89 [explanation] - -
90, 82 [17 Orations] 1st Oration
[Lux, veritas - Ezomomos, hazalat,
Light, truth] Ezityne 1st Grammar
128 Domine sancte pater Omnipootens- 2nd Oration
Oh Lord, Holy Father, Almighty
129 Respice Domine Deus clems - 3rd Oration 2nd Grammar
Behold, 0 Lord, merciful Father
130 Creator Adonay omnium visibilium 4th Oration 3rd Grammar
creaturarum -
0 Adonay, Creator of all visible
Creatures

399
 Ars Notoria

Oration
Section Latin Prayer Notae
verba ignota

133 [Logic] - 1st Logic

134 [Geometry] - 1st Geometry
134 [Arithmetic] - 1st Arithmetic
134 [Philosophy] - 7 notae of
Philosophy
135-136 Sancte Deus Pater & pie 5th Oration 1st Dialectic
Oh Holy God Father & Logic
137 Heloy, Clementissime creatur - 6th Oration 2nd Dialectic
Heloy: Most Merciful Creator
138 Omnipotens & misericors 7th Oration 1st Rhetoric
pater...ordinator - Hanazay, Sazhaon,
Omnipotent and merciful Father, Hubi, Sene, Hay,
Ordeyner ginbar Ronail
139-140 Unus magnus & mirabilis eterne 8th Oration
Deus - Azelechias,
Oh great eternal and wonderful Velozeos,
Lord God Inoanzama
141a Vision omnium potestatum atque 9th Oration
2nd Rhetoric
regnorum -
Vision; beholding with thy eternal
141b Et tu Deus propitius in me 10th Oration
promissiones confrma - Azelechias,
And thou Oh God propitiously Velozeos,
conf rm thy promisses in me Inoanzama
141c Scio enim quia delector me in facta 11th Oration 3rd Rhetoric
tua magna mirabilis - Theon,
I know, that I love thy Glory...in Haltanagon,
thy wonderful works / Haramalon /
Per haec sacratissima Dei & Zembar,
gloriosissima - Henoranat,
By these most Holy and Glorious Grenatayl
142 Reverende potens & Dominus 12th Oration 4th Rhetoric
superioribus -
Oh most reverend Almighty Lord

[Quadrivium]

142a Deus qui omnia pondere & numero 13th Oration 1st Arithmetic
& mensura fecisti -
Oh God who numbrest, weighest
142b Mediator omnium operationum - 14th Oration Half nota of
Oh God, the Operator of all things Arithmetic

400
 Ars Notoria

Oration
Section Latin Prayer Notae
verba ignota

143 Deusjustis Judex operum - 15th Oration 2nd Arithmetic

Oh God the perfect Judge of all
good works
146 Omnis sapientiae Deus & scientiae 16th Oration 2nd Geometry
donator -
Oh God the giver of all wisdome
146 Adoro te rex regum, rex meus - 17th Oration 2nd Theology
I adore thee, Oh King of Kings, my
147 [Timing & Zodiacal Signs]
[Philosophy - 7 species]
90-91 Domine Deus sancte pater 1st Oration 1st Philosophy
omnipotens...incomprehensibilis - Ezomamos,
Oh Lord God, Holy Father... Hazalat, Ezityne
incomprehensible.
92-93 Domine sancte Pater & 2nd Oration 2nd

omnipotens - Gezomelion, Philosophy

Oh Lord God, Holy and Almighty / Samach, Semath,
Deus semper - Demon
Oh God eternal
94-95 Vita omnium creaturarum Deus 3rd Oration 3rd
visibilium - Lemogethon, Philosophy
Oh God the life of all visible Hegemochom,
Hazachay
96 Rex regnum - 4th Oration ^.th

Oh King of Kings Philosophy

98 Deus Pater immense, a quo 5th Oration 5th
processit omne quod bonum - Philosophy
Oh Father, incomprehensible, from
whom proceedeth every thing that
is good
99-100 Rex aeterne Deus Judex - 6th Oration 6th
Oh eternal King! O God Gezomothon, Philosophy
Oromathian,
Hayatha
101 Deus totius pietatis autor - 7th Oration 5th Theology
Oh God of all piety /
Deus Pater immense -
Oh God most mighty Father
102 [Theology explanation] - I st 2nd 3rd
Theology

401
 Ars Notoria

Oration
Section Latin Prayer Notae
verba ignota

103-104 Sapienter die illo - Hosel, Jesel, 5th Theology

The Wisdom of the dap Anchiator
105-109 [explanation] -

110 Part 3 - Ars Nova - 10 Orations

111-114 [Prologue to Ars Nova]

[The 10 Orations]
1st Oration
115 Omnipotens, incomprehensibilis -
[for Memory]
Omnipotent, Incomprehensible 1st Theology
Adoro te, rex regum - 2nd Oration
116
I adore thee, thou King of Kings [for Eloquence]
Confiteor ego tibi reus hodie Deus - 3rd Oration
1st
117 I confesse myself guilty this day [for Eloquence &
Astronomy
before thee Oh God stability]
O Pientissime Deus, & misericors, 4th Oration
clemens - [for Celebration]
118-119 Oh Holy God, mercyful and Otheos,
omnipotent Father Athamaziel,
Gezomi
Pie Pater, misericors Fili - 5th Oration
120 -
Oh Holy Father, merciful Son [for Memory]
Extollo sensus carnis & carnis &
animae meae - 6th Oration
121 -
Lift up the senses of my Heart & [for the Senses]
Soul
Omnium regnorum, 7th Oration
visibilium...dispensator - [for Eloquence,
122 -
Disposer of all Kingdoms, and of Memory &
all visible and invisible gifts Stability
Deus, vivorum dominator - 8th Oration
123 Oh God of living, Lord of all [to recover lost -
Creatures wisdom]
Profiteor tibi Deus mens hodie,
9th Oration
pater omnium -
124 [Grace of the -
Oh Lord my God, Father of all
Holy Spirit]
things
10th Oration
Domine ego seruus tuus - [to recover
125 -
O Lord, I thy Servant intellectual
wisdom]

402
 Ars Notoria

Part 4 - Supplementary Gloss and Prayers

Lux Mundi - Theos Megale

S147 Oh light of the World patyr, ymas heth
Alpha et omega
Thezay lemach
S148 [For Eloquence]
ossanlomach
Azay lemach azae
S149
gessemon
Lemach sabrice
S150
elchyan gezagan
Deus summe inuisibilis - Theos patyr
Oh great invisible God behominas /
S151 Amassan,
Cherubin,
Gelommeios
...te quaeso Domine, illumina
conscientiam meam -
S152 -
I beseech thee, Oh Lord illuminate
my Conscience
Alpha et Omega - Hely schemath:
Alpha & Omega/ Theos megale/
S153
Omnipotens incomprehensibilis - Azaylemach
Almighty, incomprehensible Helyschemat
Conditor omnium rerum Deus -
S154 -
Oh God, Maker of all things
0 sapientia Dei -
S155 -
Oh wisdom of God
Benedic Domine locum istum -
S156 -
Blesse Oh Lord this place
Illumina Domine vultum tuum
super me Domine deus meus -
Lift up the light of thy
S159 Countenance upon me/ -
Adjutorium nostrum in nomine
Domini -
Our help is in the Name of the Lord
Deus qui es Deus meus -
S160 -
Oh God my God
Alpha & omega - Hely, Schemat,
Alpha and Omega/ Azatan, honiel/
S162
Deus omnipotens - Magol, Achelmetor,
Oh God Omnipotent samalsace, yana

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 Ars Notoria

Confiteor - Theos hazamagiel

S163
I confess gezuzan, sazaman
Illumina Domine vultum tuum -
Eliphamasay,
S166 Lift up the light of thy
Gelomicros, Gedo
Countenance upon us
Mitte Domine sedium tuarum -
S168 -
Send Oh Lord thy wisdome
0 pater creaturarum omnium
S171 opifex -
Oh Father, Maker of all Creatures
Gratias tibi ago Deus -
S175
I give thanks unto thee
Memor esto verbi tui seruo tuo
Domini -
Remember thy word unto thy Elysenach,
S176
Servant/ Tzacham
Recordare mei Domine omni -
Remember me 0 Lord of Lords

Part 5 - On the Figure of Memory

[The manner of Consecrating

the Figure of Memory]
S177 Theos Patyr
Psalms 91,138,103/4,119, 67,
22,70
0 pater creaturaram omnium Solis
& Luna -
S178 -
0 Father of all Creatures, of the
Sun and Moon
Summe Deus, Pater piissime -
O great God, Holy father /
S179 -
Magnus -
0 most powerful, most mighty
Domine sanctae pater omnipotens- Nota of
S180
O Lord, Holy Father omnipotent Chastity

Figure 159: Table of the Sections, Prayers, Orations & Notae.

404
Appendix 3 - Prayers 'borrowed' by Liber Juratus from
Ars Notoria.
Ars Notoria Section Veronese Liber Juratus
number (2007) page Section
7 146 XVI. Prayer
10 149 XVII
11 151 XVIII
16 154 XX
16 (var 3) 157 XXI. Prayer
16 (var 4) 157 XXII. Prayer
22 162 XXIII
25 42 XXV.
29a 166 XXVI. Prayer
29b 167 XXVII. Prayer
34 170 XXVIII. Prayer
35 (var 5) 172 XXIX
36 46 XXX. Prayer
43 174 XXXI. Prayer
46 176 XXXII
47 49 XXXIII
50 50 XXXIV
51 51 XXXIVb
52 177 XXXV. Prayer
53 51 [LIII] First Prayer
53 51 XXXVI. Prayer
54 178 XXXVII
55 52 XXXVIII
62 181 XXXIX
64 56 XL
69 183-4 XLI
90 205 LXXI. Prayer 16
91 67 LXXII. Latin Prayer
92 205 LXXIII. Prayer 17
93 68 LXXIV Latin Prayer
94 205-206 LXXV. Prayer 18
95 68 LXXVI. Latin Prayer
95 (var 10) 206 LXXVII. Prayer 19
96 68 LXXVIII. Latin Prayer
98 69 LXXIX. Prayer 20
98 69 LXXXIII
99 207 LXXX. Prayer 21

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 Ars Notoria

100 70 LXXXI. Latin Prayer

101 70 LXXXII. Prayer 22
115 77-78 LXXXIV. Prayer 23
116 78 LXXXV. Prayer 24
117 79 LXXXI. Prayer 25
118 79 LXXXVII. Prayer 26
119 80 LXXXVIII. Latin Prayer
120 80-81 LXXXIX. Prayer 27
121 81 XC. Prayer 28
122 81-82 XCI. Prayer 29
123 82 XCII. Prayer 30
124 83 XCIII. Prayer 31
125 83 XCIV. Prayer 32
127a 84-85 XLII. First Terminus
127b 232-3 XLIII. Second Terminus
127c 233 XLIV. Third Terminus
127d 233-4 XLV. Fourth Terminus
127e 234 XLVI. Fifth Terminus
127f 234 XLVII. Sixth Terminus
127g 235 XLVIII. Seventh Terminus
127h 235 XLIX. Eighth Terminus
128 87 LIV. Prayer 2
129 87 LV. Prayer 3
130 87 LVI. Prayer 4
135 90 LVII. Prayer 5
137 91 LVIII. Prayer 6
138 92 LIX. Prayer 7
139 92 LXI
140, Ver. B 197 LX. Prayer 8
141 92-93 LXII. Prayer
141, Ver. B (gloss) 197-198 LXIII. Hebrew Prayer
141, Ver. B (gloss) 198 LXIV. Prayer 9
142 (gloss) 199 LXV. Prayer 10
143 93 LXVIII. Prayer 13
144 (gloss) 199 LXVI. Prayer 11
145 94 LXVII. Prayer 12
146 94 LXIX. Prayer
146 (var 9) 200 LXX. Prayer 15

Figure 160: Prayers ‘borrowed’ by Liber Juratus from the Ars Notoria.

406
Appendix 4 - Text of the verba ignota Orations

The Ars Notoria uses both Latin prayers and verba ignota (unknown
words). These words are almost certainly names of angels and/or
demons, which are called simply by pronouncing their name whilst
looking at the relevant nota.
These names also appear as Orations in Liber Juratus which 'borrowed'
them some time in the 12th/13th century. For a full list of these
borrowings see Appendix 3. In the Turner text in the present volume, a
lot of Orations are just identified by their first few words. For example
Hely Scemath [Section 7] is only indicated by the first six words, which
would certainly not have been an adequate invocation. Some of the
Orations are repeated in more detail in later chapters [e.g. Section S162],
but then often not in full.
This is the reason why these Orations are written out in full in this
Appendix. The text frequently notes that these words "cannot be
expounded" which is because they are not common nouns that can be
looked up in a dictionary, but the names of 'spiritual creatures,' be they
angel, spirit or demon.
There are wide variations in the spelling of these words for two reasons,
the main one being that these words are transliterated from a foreign
language (e.g. Greek or Hebrew) into Latin. Secondly the scribe was
more concerned with the sound rather than the exact orthography. Let
us compare the first oration made of verba ignota in Section 7.
1) in the 17th century Latin and English to be found in this volume:
Hely Scemath, Amazaz, Hemel; Sathusteon, hheli, Tamazan (7 words)
2) in Veronese's standard 14th century Latin version:
Hely, Semat, Azatau, Hemel, Samit, Theon (6 words)

3) in the 13th century borrowing by Liber Juratus:

Hely semath, hazaram, hemel, saduch, theon...(11 + 25 + 34 words)
Of these three possible renderings, Liber Juratus is probably the oldest
and more extensive, accordingly we have supplied where possible,
Orations from that source. Often the text of the Oration in the first two
examples above corresponds to every third or fourth word in the more
complete Liber Juratus version. The Orations follow the Latin text
established by Gösta Hedegärd (Hedegärd (2002)).

407
 Ars Notoria

The numbers within brackets are the Section numbers in the Ars Notoria.
Roman numbers indicate the corresponding passage in Liber Juratus, and
its Juratus title (Oration x). BnF Lat. 9336 folio numbers are also given for
cross-reference. Note that the spelling will often vary from one source to
another. As it is a list of names (or words of power), the punctuation is
almost irrelevant, except for indicating that each word must be
pronounced clearly by itself, and not run on as if it was part of a sentence.

[7] Hely Scemath, Amazaz, Hemel; Sathusteon, hemel Tamazam [Liber

Juratus XVI - Oration 10. BnF Lat. 9336, f. 2m1]
Helysemath. hazaram. hemel. saduch. Theon. Heloy. zamaram. zoma.
ietromaym. Theos. Deus pie et fortis. hamathamal. ietronamayhala.
zanay. hacronaaz. zay. colnaphan. salmazaiz. ayhal. geromelam.
haymasa. Ramay. genzi. zamath. heliemath. semay. selmar. iecrosamay.
iachat. lemar. harana. hamany. memothemath. hemelamp...

Megalhamethor. semassaer. zamathamar. geogremai. megus. monorail,

hamezeaza. hillebata. maraama. iehenas. iehemia. malamai. sephormay.
zemonoma. Melas. hemay. hemesua. iecormay. lemesey. senosecari.
zemaher. helcamay. calion. tharathos. tronios. nebay. tharathos. vsyon.
gezsethon. seminathemas. zezehas. thamam. helomany. hamel.

[10] Theos Megale, in tu ymas Eurel [Liber Juratus XVII - Oration 11. BnF
Lat. 9336, f. 2va]
Theos, megale. Patir. ymos. hebrel. habobel. hecoy. haley. helihot. hety.
hebeot. letiel. iezei. sadam. salaseey. salatial. salatelli. samel, sadamiel.
Saday. helgion. helliel. lemegos. micron, megos. myheon. legmes.
muthon. mychohyn. heel, hesely. iecor. graual. semhel. semobzhat.
semeltha. samai. geth. gehel. rasahanay. gelgemana. semana.
harasymihon. salepatir. selapati. ragion. saletha. thurigium. hepatir.
vsion. hatamas. hotanas. harayn.

[16] Assaylemath [Liber Juratus XX - Oration 12. BnF Lat. 9336, f. 3rab]
Assaylemaht. rasay. semaht. azahat. haraaht. lameth. hazabat. hamat.
hamae. gesemon. grephemyon. zelamye. relamye. hazatha. hamatha.
hazaremehal. hazanebal. helial. zebial. seziol. semyhor. hamissiton.

1 Folio referencing: r = recto (sometimes just indicated without Y); v = verso

(the back of the folio). Letters a, b, c, d indicate on which quarter of the folio the
Oration is to be found.

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 Ars Notoria

fintiugon. tintiugethe. hamissirion. sebarnay. halmoht. alymyon. gemail.

halmiot. sadail. hehomail. neomail. Cristos, thiothot. sepha. taphamal.
paphalios. sicrogramon. laupdau. laupta. iothim. iothileta. lazahemor.
iemeamor. lotahemor. fitcomegal. haemor. giselector. gilzelerethon.
glereleon. gamasgay. semagar. semalgay. semasgyy. balua. arethon.
iesamahel. gegemahelay. hala. heia, iemay. semethay. may. semnay.
geles. syney. iolehemey. iesmar. samennay. bariactoca. cariactera.
tharihetha. socalmata. getimay. socalma. socagamal. helgezamay. balma.
hailos halos, zaynos. ienenegal. sarimalip. sarmalaip. sacramalaip.
tamygel. thamahel. sathabynhel. sathabinal. samal. maga. samalanga.
saminaga. satalmagu. silimal. salmana. saguaht. silimythu. semalsay.
gahit. galiht. gezamannay. sabal. zegahathon. zahanphaton.
iezanycrathon. ietuaphaton. iezemo. iezelem. ioselimen. hatanathos.
hathanathay. semaht. zemehet. iezorahel. checorab. Hel. gerozabal.
craton, hariabal. hariagal. hanagai. hariagil, parithomegos. samazihel.
simazihel. leosemmaht. leosamaty. themiathol. genynatol. gemizacol.
hebalthe. halabee. hamisschon. sebanay. halmye. gemail. sadail.
neomahil. cristolepha. caphanial. hazaron. gezamel. haymal. hayhala.
sememay. gehesmoy. thariattha. gemiazai. zohanphaton. ielesamen.
hatanathay. gemäht, iesomabel. haynosiel. halabethen. iabaioge.
halabeht. ebalohe. nyphos. phabos. phelior. phobos. ydolmassay.
predolmassay. pholihor. negioggen. neginather. pharampnee. pharanehe.
scomicopoten. sohomychepoten. hymaliassenon. ymiamos. manyahas.
geromay. iemay. ietathamazai. passamaht. Theon. beht. bon. sathamat.
hagynol. naragal. semozihot. nerothinay. raguathi. raguali. ranal.
ragahal. hagmal. hagamal. fagomossyn. fagemesym. domogentha.
theomogen. theromogen. salmatha. salamaht. zalamatha. Hon. bolon.
halon, sephezimu. sapynon. saphiamon. hamon. harion. usion.
gemession. sepha. phalymyt. sebanay. hamyssithon. thyutyugren.
hactou. rogoubon. Ion. usion.

[16 variant] [Liber Juratus XXI - Oration 13. BnF Lat. 9336, f. 3va]

Hazailemaht. lemath. azat. gessemon. thelamoht. hazab. halatal. haebal.

sezior. sicromagal. gigoro. mogal. gielocheon. samagoy. haphiles.
pamphilos. sicragalmon. laupda. iothim. haiual. hailos. halua.
geneuogal. samanlay. tacayhelthamyel. secalmana. hesemolas.
hesomelaht. gethasam. cethalsam. scilmon. saibaiol. semalsay. crathon.
hanaguil. pancomnegos. tyngeny. hamissitoy. sebarnay. hassimilop.
thenaly. soday. henaly. halaco. meahil. crihicos. sepha. caphaual.
hazaron. cezamahal. haila. saramnay. gelior. synoy. bariachacha.

409
 Ars Notoria

gehemyzai. iecrafagon. legelyme. hathamathay. senac. gromyhazay.

sothal. magaal. iemazay. zehemphagon. hasihezamay. legelime. hacama.
ieizobol. ierozabal. symaliel. seymaly. seihel. leosamaht. gemyhacal.
halabre. cyhophagros. Theos, phabos. ycolmazai. negen. pharameht.
nehihahon. sehon. gethorem. nehehom. helisemaht. saratihai. ierafiai.
hynaliha. sememanos. gezamai. iecremai. passamaht. thagail. hagamal.
fagamesy. fagamesym. themegoman. zemegamary. salamatha.
salomothono. bon. Ion. sepizihon. harion. usyon. semession. tegon.

[22] Lameth, Leynach, Semach, Belmay [Liber Juratus XXIII - Oration 15.
BnF Lat. 9336, ff. 3va, 4rb]
Lameht. lenat. lemahat. semaht. selmahat. helmay. helymam. helmamy.
zezetta. zezegta. gezegatha. zozogam. remasym. themaremasym.
ieranyhel. phuerezo. gamyhal. zecegomyhal. hezetogamyhal. heziephiat.
hozoperbiar. iosaithyn. iosathyn. iosany. gosamyn. salaht. salatoham.
salatehen. salatambel. hen. henbem. habena. henlezepha. bosephar.
thamar. sahaletromar. hafartitmar. thimas. tirimar. namor. semyhot.
semohit. zemyhot. semoiz. lemdihon. lemahat. phethalon. hamiht.
phethalonamie. zomye. zamiht. prihiti. philei. haphyn. gergeon. gergohen.
ierthon. lothios. lothos. semyhot. lemahat. zemohit. lemaiho. phetalon.
hamye. hamyphyn. pethio. gergion. lecton. iergohen. thothios. lectos.

[24] Theos Patir Heminas [Liber Juratus XXIV - Oration 16.]

Deus summe, Deus invisibilis, Theos. Patir. behemnos. lehemnyos.
behenny...
helipha. massay. cherubyn. ielomynctos. gadabany. zedabanay. gederanay.
saramany. lomtety. loctosy. gerohanathon. zahamany. lomyht.
gedanabasy. setemanay. seremanay. henlothant. helomyht. henboramyht.
samanazay. gedebaudi...
Deihel. Dehel. Depymo. Dein. Hel. Exluso. Depymon. Helynon.
Exmogon. Parineos. Exmegan. Pheleneos. Nauagen. Hosyel. Oragon.
Garbona. Rathion. Monyham. Megonhamos.

[29a] Ancor, Anacor, Anylos [Liber Juratus XXVI - Oration 17.]

Hancor. hanacor. hanylos. iehorna. theodonos. helyothos. heliotheos.
phagor. corphandonos. norizaue. corithico. hanosae. helsezope. phagora.

[29b] Elleminator, Condones helosi, Tephagain [Liber Juratus XXVII -

Oration. BnF Lat. 9336, f. 5ra]

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 Ars Notoria

Eleminator. candones. helos. helee. resphaga. thephagayn. thetendyn.

thahonos. uicemya. heortahonos. uelos. behebos. belhores. hacaphagan.
belehothol. ortophagon. corphandonos.

[34] Lamed, Rogum, Ragia, Ragium [Liber Juratus XXVIII - Oration 18.
BnF Lat. 9336, f. 5vb]
Lameht. ragua. ragahel. ragia. ragiomab. hagnaht. hoguolam. exactodan.
heractodam. hanthonomos. hethaeneho. hemones. iothe. lothensezaiha.
sazaratha. hensazatha. serail. marab. mynathil. marathal. mairathal.
brihamocon. thahamathon. leprodoz. lephoris. leprohoc. lephorijs.
hesacro: hesacohen. corquenal. choremal. guoyemal. ualiaiol. salail.
salaiz. salaior. halaiz. salquihel. gessidomy. gesseuazi. iessonay.
hazoroz. hazarob. tharahal. bostihal. hamol. hamalamyn.

[43] Achacham, Yhel, Chelychem, Agzyraztor [Liber Juratus XXXI -

Oration 20. BnF Lat. 9336, f. 6va]
Hazaram. hihel. hehelilem. hethelilem. thelihem. hazagatha. agruazcor.
hizguor. liaiah. isenesan. zezor. iesar. ysail...
iasym. horos. heisa, heremogos. myrecagil. resaym. lemay. lemar.
rasamen. lemar. themamoht. irasim. iemamoht. themamoht. secray.
sotthaht. sehan. hanamar. thau. sechay. helymaht. iosoihel. helymoht.
sattamaht. helymyhot. iosey. theodony. iasamaht. pharene. panetheneos.
phateneynehos. haramen. Theos, hathanaym. hanataiphar. hatanazar.
basiactor. ieseuemay. iesamana. iesamanay. haziactor. hamynosia.
zezamanay. hamos. hamynos. hiatregilos. cahegilihos. zaguhel. zatahel.

[46] Hielma, Helma, Hemna [Liber Juratus XXXII - Oration 21. BnF Lat.
9336, f. 6va
Hielma. helma. helymat. heuina. hytanathas. hemyna. hitanathois. heisa,
hebos. hiebros. heida, hagasa. hoccomegos. raitotagum. coictagon.
myheragyn.
[50] Aglaros, Theomiros, Thomitos [Liber Juratus XXXIV - Oration 23.
BnF Lat. 9336, f. 6vb]
Agioros. theomythos. themyros. sehocodothos. zehocodos. hattihamel.
sozena. haptamygel. sozihenzia. hemya. gettahol. helyna. sothoneya.
geherahel. halimyz. zezoray. gezetiz. gerehona. hazihal. hazai. meguos.
megalos. usyon. saduhc.
[52] Megal, Legal, Chariotos [Liber Juratus XXXV - Oration 24. BnF Lat.

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 Ars Notoria

9336, f. 7ra]
Megal. agal. iegal. hariothos. handos. hanathos. hanathoios. hauothos.
lemazai. semezai. lamezai. lethonas. iethonay. zemazphar. zeomaspar.
zeomaphar. tetragramos. thethagranys. hatammar. hazaamahar.
zahamyr. iechosaphor. zethesaphir. gethor. saphor. hasagitha.
hasacapha. hasamypa. haragaia. hazaguy. phasamar. samar. saleht.
salym. salmeht. sameht. saloht. sillezaleht. sadayne. neothatir. neodamy.
hadozamyr. zozena. belymoht. hazat. helyhot.

[62] Gemot, Geel, Zabael, Gezezai [Liber Juratus XXXIX - Prayer 27. BnF
Lat. 9336, f. 8ra]
Semoth. gehel. helymoht. hemeb. sabahel. zerothay. zabahel. gerozay.
hebel, crosaihamagra. hatchagra. rageu. seromay. zehez. hezehengon.
iezomay. hemehegon. hamagrata. cezozoy. gesommay. hesehengnon.
lethomay. Halla. hathanaton. hagigel. hatamyhel. hathomas. hecohay.
zemohay. theageta. theal. regon. hagem. iezeregal. zehalragem. geht,
zeregal. hamabihat. hezegon. gethage. madiaaios. zadanchios. exhedon.
pallathoros. zallachatos. thelthis. trehodios. zezochthiam. pallititacos.
nethi. delthis. heremodios. helmelazar. helyne. zazar. haron. gezero.
mymyhel. henthon. hermelazar. sython. genithon. hezemyhel. heymemy.
helmelazar. cremymyhel. exheruz. zorol. mothora. rabihel. samyb.
lamely, melion. sarabihel. samyl. tamyl. Samyhel.

[69] Semot, Latnen, Gezeil, Samatial [Liber Juratus XLI. BnF Lat. 9336, f.
8a]
Semoht. lamen. lezahel. salmatihal. zamatihel. mahazihel. zamazihal.
ezeleaz. mahatihoten. helzoleam. megos. hemol. hemnoleha. methos.
hazamegos. halzamyhol. alzamoy. menmanittos. memomittos. zely.
marayhathol. zolmazathol. zemeney. iemenay. lameley. zethemalo.
zathenaran. labdaio. lodeho. zabday. hoton. ladaiedon. lapdaihadon.
lothanan. hizemazihe. izthamhihe. iotha. uahuzuzif. zihanatihephomos.
zeherem. zehe. ziehelmos. hiehanathihe. homos, zeherem. hessimathal.
hessicomal. On. chehe. sihotil. magal. hesiothil. mytho. halpha. husale.
ouus. flum. fals. hallemassay. alesemonoy. salemanasai. helemasay.
zazaico. semanay. nachairo. natham. gemehol. yetulmassay. gemahol.
iezemalo. magul. gehamas. senadar. iezema. salpha. secramagay.
iehennagay. zehetyn. zemadazan. iehir. ramagay. geiama. salpha.
gemama. suphu. ioher. iohabos. haymal. hamanal. thanocbomas. iobohe.
hamynal. zanogromos. nyzozoroba. nygerozoma. negero. rabali. negora.
hohalym. uytheromachum. tho. lymchay. tolomay. loynar. tholinngay.

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 Ars Notoria

zenolozihon. hisonomelihon. Samyhel. giethy. sicrozegamal. thoneos.

carmolehos. samhel. geiszefihor. iezolnohit. phicrose. gramaht. theonthos.
carmelos. lainyhel. harmanail. gesezihor. semarnail. zaarmatihail. heliozo.
thahel. semail.

[90] Ezomamos, Hazalat, Ezityne [Liber Juratus LXXI - Oration 16. BnF
Lat. 9336, f. llvb]
On. ezethomos. iezemonos. hazalathon. azaithon. hentynethel.
hezemtynethel. zamayzathon. hamanzathon. zamarzathon. hezemeguor.
zecromanda. lechomancha. leraphay. zaraphamy. phalezethon.
phaboghecon. seremyhal. sacramyzan. iethemathon. sacramazaym.
secranal. sacramathan. iezemy. halathon. hathezihacos. ieceley. mathan.
ateriathos. zai. mazay. zamma. zazay. guygucheibib. gigithios. guahiros.
megalon. senegalon. heracruhit. ciarihuht. haracrihuz.

[94] Lemogethom, Hegemochom, Hazachay Hazatha [Liber Juratus LXXV -

Oration 18. BnF Lat. 9336, f. 12ra]

Honzmorb. lemogethon. hegemothon. hazathay. hazathar. hazamathar.

hazatha. hazamathar. iazamathan. zegomothay. gohathay. zachana.
legomothay. iachama. legomezon. legornezon. lemdomethon.
hathanathios. lamdomathon. iegomaday. hathamam. zachamos.
hathanayos. hellesscymon. zelezion. uaderabar. uagedaroin. lauinauaht.
lamandi. gemechor. guomon. gehör, genamchor. hellemay. iezecromay.
iecromal. iecrahaly. tholomanos. colomaithos.

[95 variant] [Liber Juratus LXXVII - Oration 19. BnF Lat. 9336, f. 12rb]
Joht. omaza. behea. Theon. megal. menehon. exhehal. tirigel.
harapheiocon. semenoyn. sehmneny. hachemathan. hiemarayn.
gemehehon. lucharanochyn. exnotheyn. themelihen. segyhon.
hihoueuyr. hacrisientheon.

[99] Gezemothon, Oromathian, Hayatha [Liber Juratus LXXX - Oration

21. BnF Lat. 9336, f. 12va]
Messamarathon. gezomothon. ezomathon. haihatha. hagihar. hagiathar.
haihatha. lethasiel. lechisihel. gethiduhal. geguhay. iethonay.
samazataht. samazarel. zamazthel. sergomazar. hazomathan.
hazothynathon. iesomathon. iezochor. heihazay. heihazar. samy. zamyn.
helihel. samehelihel. siloth. silereht. gezemathal. iecoronay. iecornenay.
samyhahel. hesemyhel. secozomay. sedomasay. sethothamay. sanna.

413
 Ars Notoria

rabihathos. hamnos. hamnas.

[118] Otheos, Athamaziel, Gezomi, Saziel [Liber Juratus LXXXVII -

Oration 26. BnF Lat f. 14va]

Maloht. Otheos. hatamagiel. hataha. marihel. gezozay. iezoray. gezozay.

saziel. sazamay. iezoramp. zazamanp. sacamap. zachamay. iecornamas.
iecohoruampda. salatihel. gezomel. zarachiel. megalis. nachama.
nechamyha. sazamaym. sophonaym. lazamair. mehisrampna. hamamyl.
zamanyl. sihel. deloth. hamamyn. hazemeloch. moys. ramna. secoram.
hanasichonea. seronea. zaramahem. sacromohem. iegonomay.
zaramohem. chades. bachuc. iezemeloht. harugo. semorgizechon.
malaparos. malapatas. helatay. helahenay. methay. meray.

414
Appendix 5 - Known works by Robert Turner of Holshott

T r a n s la tio n
O r ig in a l
Title Date Notes

MtKpoKoajioypacpa. Printed for Edward

Mikrokosmographa: A Archer, London.
Description of the Little-World, Reprinted as
being a discovery of the Body of Mikrokosmos, 1654.
Man exactly delineating all the
members, bones, veins, sinews,
1654 Y
arteries, and parts thereof, from the
head to the foot. Hereunto is added
... the cure of wounds ... the
sicknesses attributed to the twelve
Signes and Planets, with their
Natures.
Henri Cornelius Agrippa, his Printed by J. C for John
Fourth Book of Occult Harrison, at the Lamb at
Philosophy. OfGeomancy. the East-end of Pauls,
Magical Elements of Peter de 1655 Y London, 1655.
Abano. Astronomical Geomancy. Second Edition, 1665.
The Nature of Spirits. Arbatel of
Magick.
Eaojrrpov AcripoXopiKov. Printed for John Allen,
Astrologicall Opticks. Wherein London.
are represented the Faces of every
Signe, with the Images of each 1655 Y
Degree in the Zodiack; by
Johannes Angelas Johann
Engel.
Philosophicall Cannons, Work destroyed by the
chemical preparacons, and phisicall Great Fire before being
experiments, with a full printed? or never
demonstration of the preservation 1656 Y published?
of health of Aureolus
Theophrastus Paracelsus,
together with his life.
The Method & Mistery of the Work destroyed by the
Hebrew Cabala. Translated Great Fire before being
from the booke of Abrahamus 1656 Y printed? or never
Judeus, and carefully Englished published?
by Robert Turner.

415
 Ars Notoria

T r a n s la tio n
O r ig in a l
Title Date Notes

Compleat Bone-Setter: Being the Printed by J.C. for

Method of Curing Broken Bones, Martha Har[r]ison,
Dislocated Joynts, and Ruptures, London.
commonly called Broken Bellies. Compleat Bone-Setter. 2nd
Written originally by Friar 1656 Y edition, London, 1665.
[Thomas] Moulton; Englished Includes portrait which
and enlarged by Robert Turner. was redrawn for the
1687 reprint of the
Botanologia.
Of the Supreme Mysteries of Printed by J.C. for N.
Nature, by Paracelsus. Brook and J. Har[r]ison,
Englished by R. Turner. London.
Published as Paracelsus,
1656 Y
The Archidoxes ofMagic,
edited by Stephen Skinner,
Newburyport: Nicholas
Hays/Ibis, 2004.
Enchiridion Medicum: An Printed by J.C, London.
Enchiridion of the Art ofPhysick
Methodically prescribing Remedies
. . . to the Sick-Man . . . Containing
a salubrious remedy for every
malady incident to the body of 1657 Y
Man. Written in Latin by our
learned countryman John
Sadler, Doctor in Physick; tr.,
revised, corrected and
augmented by R. Turner.
Ars Notoria: The Notary Art of Printed by J[ames]
Solomon; shewing the Cabalistic Cott[e]rel[l], London.
key of magical operations, the
liberal sciences, divine revelation,
and the art of memory. Whereunto
is added an Astrological Catechism,
1657 Y
folly demonstrating the art of
judicial Astrology. Written
originally in Latine by
Apollonius, and others, and
now Englished by R. Turner.
This book.

416
 Ars Notoria

T r a n s la tio n
O r ig in a l
Title Date Notes

Philosophical and Chymical Printed for Rich. Moon

Experiments of that famous
Philosopher Raymond Lully;
containing the right and due
Composition of both Elixirs; the
admirable and perfect way of
making the great Stone of the
Philosophers ... Now for the
benefit of all lovers of Art and
Knowledge, carefully translated
out of High German and Latin,
by W. W., student in the
Celestial Sciences, and R. T.
Morbis Foemineis, the Woman's
Counsellour: or, the Feminine
Physician, modestly Treating of
such occult accidents, and secret
Diseases, as are incident to that
Sex. Translated out of Massarius
de Mulier. By R.T.
Sal, Lumen et Spiritus Mundi
Philosophici: or, the dawning of
the Day, discovered by the Beams
of Light: Shewing, the true Salt
and Secrets of the Philosophers, the
first and universal Spirit of the
World. Written originally in
French by Clovis Hesteau,
Sieur de Nuysement and
afterwards turned into Latin by
the illustrious Doctor
Lodovicus Combachius
[Ludwig Combach] and now
transplanted into Albyons
Garden by R. T. OiAopaO
[Philomath].
at the Seven Stars.
London.
Bound with Of the
Chymical
Transmutation,
1657 Y Genealogy and Generation
of Metals and Minerals.
Also, of the Urim and
Thummin of the Jews.
Printed for John Streater,
and are to be sold by
Booksellers in London.
1657 Y Reprinted 1659,1686.
Printed by J.C, London.
Reprinted in 1658 by
William Godbid under
the new title of
Fundamenta Chymica: or
A Sure Guide into the high
and rare Mysteries of
Alchymie.
1657 Y

417
 Ars Notoria

T r a n s la tio n
O r ig in a l
Title Date Notes

Collection of Medical and Wellcome Library MS

Technical 'secrets'-, followed by 4867. The catalogue
The Theater of Nature treating of describes it as
some magneticall Cures, of the incomplete. The Theater
occult qualityes ofherbes, stones, of Nature begins on p. 69,
and Animalls, ofMagicke and the but is incomplete, signed
division thereof Signed Ro. 'Ro. Turner. 3 August
Turner. 1657 Y
1657. Christopher's
Alley in St. Martyns le
grand.' It is almost
certainly a contemporary
copy, and may possibly
be holograph. Produced
in London.
Astrological Institutions. Being Printed by J.C for
a perfect Isagoge [Introduction] to Samuel Speed. London.
the whole Astral Science; or
Judgment of the Nature, Vertue,
1658 Y
and Influence of the Celestial
Bodies upon the Terrestrial. By a
Student in Physick and
Astrologie [i.e. Robert Turner].
The Art Divination by Work destroyed by the
Geomancie, &c. by Rob[er]t Great Fire before being
1660 Y
Turner. printed, or never
published?
BoxavoXopta [Botanologia]. Printed by R[alph]
The Brittish Physician; or, The Wood, London. Reprint
Nature and Vertues of English 1664 Y in 1664 & 1687 with
Plants. By Robert Turner, portrait.
Botanolog.
The Expert Midwife's Practice, London.
or, A guide for woman in
1665 Y
conception, breeding, and nursing
Children.
Figure 161: Books written and translated by Robert Turner.

418
Appendix 6 - The Ecclesiastical Hours
The times for prayer were fixed with regard to the 12 solar hours of the
day (which began at dawn and ended at sunset). These hours are
effectively the same as Planetary hours, as they vary from actual clock
time according to the season. Summer has longer days, with earlier
dawn and later sunset, and therefore its solar hours are longer than 60
minutes. The reverse is true in winter, which consequently has solar
hours shorter than 60 minutes.
This arrangement works quite well with the seasonal variations in
agriculture. In winter when there is less agricultural work to do, the
days are shorter and so are the work hours. In summer where tilling,
planting and harvesting are necessary tasks, the day is longer. These
seasonal variations also affected the timetable of prayers. Each of these
canonical hours was named, and those names are followed in the Ars
Notoria, rather than clock time.
The names of the hours are:

Solar Approx,
Canonical name Solar or Planetary hour
Hour clock time1
Matins/Vigil During the night 2 am
Lauds Dawn Prayer 5 am
Prime First Hour (Sunrise) 1 6 am
Terce Third Hour (Mid-Morning) 3 9 am
Sext Sixth Hour of the day or Noon 6 Noon
Nones Mid-Afternoon or Ninth Hour 9 3 pm
Vespers Sunset, "lighting of the lamps" 12 6 pm
Compline Night Prayer before retiring. 7 pm or later

We are here concerned with the Catholic canonical hours, as they were
observed in the 13th century, not with the later Protestant variations.
Even the Catholic church has in recent times changed the names of some
of the hours.

1 The length of the Solar or Planetary hour is computed by dividing the number of
minutes between sunrise and sunset by 60. This clock time will only be exact on the
Equinox, so it is only a guide. Note that dawn occurs before sunrise, and dusk occurs
after sunset.

419
Bibliography
Manuscripts
MS/ Vers­ Abbrev
Folio/
Library & Shelf mark Date1 Title Author2 PRI/ ion4 -iation5
page CAT3

Amsterdam, Stichting het Tractatus Artis MS

Wereldhart. BPH 242 Notoriae
inaestimabilum et
propositiones
Augsburg, Stadtbibliothek, Liber Visionum John of
MS
4° Codex 55 Morigny

Bernkastel-Kues, St. ff. 1 - 30. c. xiv. Ars notoria Appollonius MS B Cl

Nicholas Hospital (sic)
Bibliotheque, CC 216

Bernkastel-Kues, St. c. xiv Ars notoria Best gloss on MS B Kr

Nicholas Hospital the Ars
Bibliotheque, CC 322 Notoria
Bologna, Biblioteka Liber Visionum John of MS
Comunale dell’ (New Compilation) Morigny
Archiginnasio, A. 165
(16. B. III. 5)

Cambridge, Trinity, 0.9.7 1600, Liber de Arte Simon Forman MS B

28th memorativa sive (one of his 3 nn
June Notoria copies)

Cambridge, Trinity, Of the Art [Printed sheet CAT B

ff. 3- 1623
R. 16.26 Notorious... on vellum]

Cambridge, Trinity, 1419 MS

Canterbury, St Augustine’s Ars notoria (Ars Salomon CAT

Abbey, 1539 notaria Salomonis)
Canterbury, St Augustine’s Oraciones extracte Bartholomeus CAT
Abbey, 767 (D.8.G.6) de arte notoria de Rippa
Romea

Carpenteras, Bibliotheque f. 1 - Flores Aurei et MS

Municipale, 0341 erudirtionem
Cracow, Jagiellonian c. xiv Ars notoria MS B
Biblioteka 2076 fragmentary

1 In some cases we have preferred Veronese's dating to that recorded in the library catalogue, or
drawn our own conclusions.
2 Supposed author. * = owner of the manuscript.
3 Indicates the source of the entry: a surviving manuscript (MS); an old catalogue reference
(CAT) possibly no longer extant; or a printed book (PRI).
4 This column identifies the version where known: A or B or Ab (= Ars Brevis); OO (= Opus
Operum), as per Veronese (2007). nn = no notae.
5 Abbreviation for this manuscript as per Veronese (2007).
420
 Ars Notoria

MS/ Vers­ Abbrev

Folio/
Library & Shelf mark Date1 Title Author2 PRI/ ion4 -iation5
Page CAT3

Edinburgh, Royal ff. 23-30 C. XV Ars notoria Salomon MS A2

Observatory Cr.3.14. med. fragment

Erfurt, Amplonianum pre - Ars notoria Salomon? CAT

Coll., Math. 8 (21.24) 1412 (cum figuris)
Erfurt, Amplonianum pre - Ars notoria Appollonius CAT
Coll., Math. 15. (22.36) 1412

Erfurt, Amplonianum pre - Ars notoria Salomon CAT

Coll., Math. 50. (28.31) 1412

Erfurt, Amplonianum pre - Ars notoria brevis CAT

Coll., Math. 53.(40.18) 1412 et bona
Erfurt, Amplonianum ff.63-64 c. 1350 Ars notoria brevis MS Ab
Coll., Octavo 79 et bona.
Erfurt, Amplonianum ff.95- c. xiv Ars notoria Salomon MS A2
Coll., Octavo 84 (= Math 107v (tractatus de arte
14.) notoria Salomonis)
Erfurt, Amplonianum ff.38-41v C. XV Ars notoria MS Ab
Coll., Quarto 28a end

Erfurt, Amplonianum. ff.49 - 1230 Ars notoria Apolonius MS A E

Coll., Quarto 380. 64v nn

Firenze, Biblioteca f. 156 Ars notoria MS

Medicea Laurenziana,
Plut. 17, Cod. III.

Firenze, Biblioteca C. XV Ars notoria MS A2

Medicea Laurenziana, fragment
Plut. 89, Sup. 35.

Firenze, Bibliotheca ff. 57v- MS

Ambrosiana B 8 Sup.

Glasgow, University ff. 3- 1826, Ars notoria Solomon & MS

Library, Ferguson 50 April [French] Apolonius
26th

Graz, ff. 47v- c. xiv Ars notoria Apollonius MS A2

Universitätsbibiothek 1016 71V

Graz, ff. l-20v c. 1315 Liber visionum John of MS

Universitätsbibliothek 680 (new compilation) Morigny

Halle, Landesbibliothek, c. xvi Ars notoria MS B

Sachsen-Anhalt, 14. B. 36

Halle, Landesbibliothek, Liber visionum MS

Stoib.Wernig, Za 74.

Hamilton, Ontario, ff. 80v- 1461 Liber visionum John of MS

McMaster University 83v Morigny
Library, 107

421
 Ars Notoria

MS/ Vers­ Abbrev

Folio/
Library & Shelf mark Date1 Title Author2 PRE ion4 -iation5
page CAT3

Heilsbronn, Cistercienser- c. xiii Liber visionum CAT

kloster, Bibliothekskatalog
(Erlangen 65 (337)) 153

Jerusalem, National ff. l-33v 1600 Liber de Arte Simon Forman MS B Yah
Library, Yah. Var. 34 (copy Memorativa (one of 3
of c. Ars Notoria copies)
15th)

Kassel, Universitäts- ff. 135- c. xvi MS

bibiothek 4° Chem. 96 162, 189-
214

Klosterneuburg, c. xiii/ Ars notoria MS A

Augustiner- xiv fragment
Chorherrenstift, CC1 221

Klosterneuburg, c. xiii Ars notoria MS A

Augustiner-
Chorherrenstift, CC1 759

Klosterneuburg, c. xiii Liber Visionum MS

Augustiner-
Chorherrenstift, Cod. 950

Kdbenhavn, Kongelike ff. 51r- Orationes MS

Bibliotek Gl. Kgl. S. 3499 59v

Leiden, Bibliotheca ff. 1-11; c. xiv. Ars notoria Salomon MS A Le

Universitatis Leidensis, 12-25v [Nova ars] OO
Codices Vulcaniani, 45. (A) Apollonii Flores
aurei
Leipzig, Stadtsbibliothek c. xviii Ars Paulina MS
829 (DCCCXXIX)

London, British Library, f. 2- 1373 Liber visionum - John of MS

Additional 18027 Liber Morigny
appearicionum et
visionum B. Marie
London, British Library, ff. 18r- c. xvi - Ars notoria Solomon MS B+
Harley 181. 74v late

London, British Library, ff. 280- c. 1700 Ars notoria Dr Rudd MS B

Harley 6483 414v [English] Peter Smart

London, British Library, Ars notoria MS Or

Or. 14759

London, British Library, ff. 192- C. XV Ars notoria ad Richard Dove, MS Ab

Sloane 513 201 intelligendu omnes monk of
artes et seereta Bukfestre
tocius mundi... [Buckfastleigh]

London, British Library, ff. l-22v c. 1250 Ars notoria Salomon MS A L

Sloane 1712 OO

422
 Ars Notoria

MS/ Vers­ Abbrev

Folio/
Library & Shelf mark Date1 Title Author2 PRI/ ion4 -iation5
page CAT3

London, British Library, f. 66-70 C. XV Tractatus de Arte fragment MS Ab

Sloane 3008 Notoria, cumfigura
Theologiae
London, British Library, ff. 33-47 c. xvii Ars notoria Based on MS
Sloane 3648 Turner ‘s
translation

London, British Library, ff. 148- Ars notoria MS

Sloane 3822 179 invocations and
orations
London, British Library, ff. 148- c. xvii Ars notoria Based on MS
Sloane 3825 179 Turner ‘s
translation

London, British Library, f. 98v- c. xvii Ars notoria MS

Sloane 3826

London, British Library, ff. 23v- c. 1567 Pro cognitione Probably MS

Sloane 3846 24v, 32- artis physicae. copies of
47, 182 Ars cricifixi Turner

London, British Library, ff. 159v- c. xvi Ars notoria MS nn

Sloane 3853 174v

London, Wellcome 1581 Le Grand Art Saloman MS

[Ars Notoria]
London, Wellcome 4653 Ars notoria Copied from MS
Turner

Lyons, [Lugduni] Beringi Early Ars notoria Salomon PRI

Fratres, [162?] A xvii numquam edita.
Lyons, [Lugduni] Beringi Early Ars notoria Salomon PRI
Fratres, [162?] B xvii numquam edita.
Lyons, [Lugduni] Beringi Early Ars notoria Salomon PRI
Fratres, [162?] C xvii numquam edita.
Milan, Library of the Ars notoria Solomon CAT
Visconti and Sforza
Famlies 282

Milan, Library of the Ars notoria Solomon CAT

Visconti and Sforza
Families 286

Munich, Staatsbibliothek, c. xiv c.xiv Ars notoria * H. Schedel MS A

CLM 268 (incomplete)

Munich, Staatsbibliothek, f. 26 c. 1350 Ars notoria Appollonius MS A M2

CLM 276 f. 39v (Flores aureos) * H. Schedel OO

Munich, Staatsbibliothek, c. xvii Ars notoria MS

CLM 17711

Munich, Staatsbibliothek, c. xiv Ars notoria * Thos MS

CLM 30010 Phillipps,
Middle Hill

423
 Ars Notoria

MS/ Vers­ Abbrev

Folio/
Library & Shelf mark Date1 Title Author2 PRI/ ion4 -iation5
page CAT3

Munich, Staatsbibliothek, C. XV Ars notoria MS

CLM 28858 late Salomonis
New York, George A. ff. 127- Ars notoria MS
Plimpton 180 158.

Oxford, Bodleian, ff. 123v- c. xvi Ars artium MS

Ashmole 1416 4r ex.

Oxford, Bodleian, f. 4-10, Late c. Ars notoria Salomon & MS B

Ashmole 1515 23-40 xvi [Latin & English Apollonius nn
translation] * A.C.

Oxford, Bodleian, C. XV Sacratissima Ars Appollonius MS

Ashmole 2871 notoria (sic)
Oxford, Bodleian, Bodley ff. 85- 1601, Liber de Arte Simon Forman MS B
8908 14th Memorativa (one of 3 OO
(= Jones 1) July Ars notoria copies)

Oxford, Bodleian, Bodley ff. 1 - C. XV. Ars notoria (Flores Appollonius MS B O2

951 18v Aurei) (sic) * Simon nn
(=2871; 925) Maidestone

Oxford, Bodleian, Digby ff. 275- C. XV. Ars notaria (sive MS

29 278 Ars scribendi)
Oxford, Bodleian, Digby ff. 104r- c. xiii Ars notoria Only 2 notae MS A
218 105v & xiv (fragment) fragment

Oxford, Bodleian, Liturg. Before Liber Visionum John of MS

160 1315 (Old Compilation) Morigny

Oxford, Merton College, C. XV Ars notoria MS

Medieval 999

Paris, Arsenal 824 c. xviii Ars notoria MS

Paris, Bibliotheque xiii Ars notoria MS A

Nationale 1565

Paris, Bibliotheque 1239 Ars notoria MS A P

Nationale 7152

Paris, Bibliotheque 1554 Sacratissima Ars Solomon MS B P4

Nationale 7153 notoria
Paris, Bibliotheque 1550- Sacratissima Ars Solomon MS B P5
Nationale 7154 1560 notoria
Paris, Bibliotheque c. xvi Ars notoria No notae MS nn
Nationale 7170A

Paris, Bibliotheque c. xiii Ars notoria fragment MS A

Nationale Lat. 7373

Paris, Bibliotheque 1350- Ars notoria Source of MS B P3

Nationale Lat. 9336 1375 Veronese ‘s
translation

424
 Ars Notoria

MS/ Vers­ Abbrev

Folio/
Library & Shelf mark Date1 Title Author2 PRI/ ion4 -iation5
Page CAT3

Prague, ff. 464v- 1431 Ars notoria Apollonii MS

Universitniknihovna 267 476v, [Flores Aureis] Frater Matheus
(I. F. 35.) 477-484 Ars memorativa Beran.

Prague 1866 c. xvi Ars notoria MS

Raleigh (NC), Rev. A. B. c. xvi? Ars notoria Appollonius MS B+

Hunter 39 (sic)
Salvatorberg, Karthäuser­ 1372 or Ars notoria (anti- CAT
kloster, Großer Bibliothek­ earlier magical tract)
skatalog (?) 425, 31

Salvatorberg, 1372 or Ars notoria CAT

Karthäuserkloster, Großer earlier
Bibliothekskatalog (A) 244,
26

Salzburg, Liber Visionum MS

Studienbibliothek, Cod. M
124

Seitenstetten Liber Visionum John of MS

Stiftsbibliothek 273 Morigny

Strasburg, Zetzner, 1605B Ars notoria PRI

Trapani, Biblioteca ff. 50- c. xviii Ars notoria et MS

Fardelliana, 175 (VII. C. 35) 68? Paulina
Turin, Biblioteca ff. 1-3 lv. c. 1275- Ars notoria MS A T
Nazionale, E.V. 13 1300

Vatican, Biblioteca ff. 92v- c. xiv Ars notoria Thomas of

Apostolica, Pal. Lat. 957 95r. end Toledo

Vatican, Biblioteca 1340- Ars notoria Apollonius MS A

Apostolica, Lat. 3185 1350

Vatican, Biblioteca ff. 1-8 c. xiv Opus Operum no notae MS A-A2 R2

Apostolica, Lat. 6842 8-16v (A) OO
nn

Vatican, Biblioteca Palat., Ars notaria? MS

Lat. 957

Venice, Biblioteca c. xvi.? Ars notaria.

Nazionale Marciana 120
(2918)

Vienna, Österreichische ff. 27- Ars memorativa MS

Nationalbibliothek 11281 30?, 51 [not Ars Notoria]

Vienna, Österreichische ff. 131r- Ars crucifixi MS

Nationalbibliothek 11321 146v [ars notoria?]
Vienna, Österreichische f. 39v 1748 Sacer libellus Salomon MS
Nationalbibliothek 11340 arcanorum pro Eliam
[Nov. 626.] memoria ac arte Artistam de
notoria. Carenscrux

425
 Ars Notoria

MS/ Vers­ Abbrev

Folio/
Library & Shelf mark Date1 Title Author2 PRI/ ion4 -iation5
Page CAT3

Vienna, Österreichische c. 1400 Ars Notoria MS A2

Nationalbibliothek 15482 fragmentary OO

Viena, Schottenkloster - 1377 Ars Notoria Solomon MS Ab

Vind. 140 (61) Liber Visionum John of
Morigny

Vorau, Codex Voraviensis c. xiii - Ars Notoria MS

186 (CCCXIX) XV fragment

Weimar F. 374/2 C. XV MS B

Wien, Österreichische Liber visionum John of MS

Nationalbibliothek 13859 Morigny

Wien, Schottenkloster 61 ff. la- 1377 Liber visionum John of MS

(50. g. 4.) 106b Morigny

Wolfenbiittel Guelf. 47.15 C. XV Salomonis Apollonio MS A2

Aug. 4° verissimus et sanct-
issimus Almandel
Yale University Library, 1225 Liber de Arte Appolonius MS A Y
Beinecke Mellon 1. Memorativa,
Ars notoria (Flores
Aurei)
York, Austin Friars A8 362 Pre- Ars notoria (nova CAT
1400 completa)
York, Austin Friars A8 371 Pre - Ars notoria Salomon CAT
1400 (veteris)

Figure 162: List of the main Ars Notoria Manuscripts.1

This list of 110 manuscripts is far from complete, but hopefully contains the most
complete exemplars. There are, for example, 19 known manuscripts of John of Morigny's
derivative Liber florum celestis doctrine, only 9 of which are included above. The most
important (and earliest) manuscripts are set in bold, and/or have an indication in the
Abbreviation column.

1 With acknowledgements to Frank Klaassen's 2001 list, which was our starting point.
426
Books
Ars Notoria:
The Latin text is:
'Ars Notoria, Quam Creator Altissimus Salomoni revelabit' in Agrippa,
Henry Cornelius. Opera Omnia, II, Lyons: Beringos Fratres,
c. 1620, pp. 603-660. (Printed in Chapter 10).
The only critical edition of the Latin text is:
Veronese, Julien. L'Ars Notoria au Moyen Age: Introduction et edition
critique, Firenze: Micrologus' Library, Galluzzo, 2007.
The only English translation is:
Turner, Robert (trans.). Ars Notoria: the Notary Art of Solomon,
London: Cottrel, 1657. (Printed in Chapter 8).
This translation has been republished in a number offormats:
Banner, James. Ars Notoria: The Notary Art of Solomon; Shewing the
Cabalistical Key of Magical Operations, The Liberal Sciences,
Divine Revelation, and the Art of Memory... etc. Seattle:
Trident, 1997.
Kunz, Darcy. Ars Notoria: the Magical Art of Solomon; shewing the
Cabalistical Key... Edmonds: Holmes, 1998.
Peterson, Joseph. 'The Fifth & last part of Clavicula Salomonis
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Clavicula Salomonis, York Beach: Weiser, 2001, pp. 155-219.
Turner, Robert (transl.). Ars Notoria: The Notory Art of Solomon.
Calligraphic copy by Frederick Hockley of the printed
book. York Beach: Teitan, 2015.
Reading: https://www.youtube.com/watch?v=YjXbMozfl2g
(retrieved April 2019)

Manuscripts of the Ars Notoria written by Simon Forman

National Library of Israel, Yah. Var. 34 (Chapter 9)
Cambridge University Trinity 0.9.7 (without notae)
Bodleian Jones 1
Bodleian Ashmole 820, iii (drawings labelled by Forman)

427
 Ars Notoria

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Agrippa, Cornelius De occulta philosophia libri tres, ed. Vittoria Perrone
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Boudet, Jean-Patrice 'Les condamnations de la magie ä Paris en 1398', in
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Boudet, Jean-Patrice, Le recueil des plus celebres astrologues de Simon
de Phares. T. II, Presentation et commentaire, Paris: H.
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theurgie antique?' in La Magie. Actes du colloque Internationa de
Montpellier, March 1999. Montpellier, 2000, pp. 173-191.
Boudet, Jean-Patrice. Entre science et nigromance: Astrologie, divination et
magie dans TOccident medieval (Xlle-XVe siede). Paris: Sorbonne,
2006.
Camille, Michael. 'Visual Art in two Manuscripts of the Ars Notoria' in
Claire Fänger, Conjuring Spirits, Pennsylvania: Pennsylvania
State UP, 1998, pp. 110-139.
Carruthers, Mary & Ziolkowski, Jan. The Medieval Craft of Memory,
Pennsylvania: Pennsylvania State UP, 2002.
Dupebe, Jean. 'L'Ars notoria et la polemique sur la divination et la magie'
in Divination et controverse religieuse en Trance au XVIe szecle,
Paris: L'E.N.S de Jeunes Filles, 1987, pp. 122-134.
Fänger, Claire. Conjuring Spirits. Texts and Traditions of Medieval Ritual
Magic, Pennsylvania: Pennsylvania State UP, 1998.
Fänger, Claire. Invoking Angels: Theurgic Ideas and Practices, Thirteenth to
Sixteenth Centuries, Pennsylvania: Pennsylvania State UP, 2012.
Fänger, Claire. Rewriting Magic: an Exigesis of the Visionary Autobiography
of a Fourteenth-Century French Monk, Pennsylvania: Pennsylvania
State UP, 2015.
Fänger, Claire. 'Christian Ritual Magic in the Middle Ages' in History
Compass, 11, No. 8, 2013, pp. 610-618.

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Fänger, Claire. 'Plundering the Egyptian Treasure: John the Monk's Book
of Visions and its Relation to the Ars Notoria of Solomon' in
Fänger, Conjuring Spirits, 1998, pp. 216-249.
Fänger, Claire. 'Covenant and the Divine Name: Revisiting the Liber iuratus
and John of Morigny's Liber florum' in Fänger, Claire (ed.).
Invoking Angels: Theurgic Ideas and Practices, Thirteenth to Sixteenth
Centuries. Pennsylvania: Pennsylvania State UP, 2012.
Gallagher, Sean. 'Boncompagno da Signa, On Memory' in Carruthers &
Ziolkowski, The Medieval Craft of Memory, Pennsylvania:
Pennsylvania State UP, 2002.
Gioanni, Stephane & Benoit Grevin, L'Antiquite tardive dans les
collections medievales : textes et representations, VIe-XIVe siecle,
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Gulielmi Leporei Avallonensis, Ars Memorativa, 1520 & 1523.
Hedegärd, Gösta. Liber Iuratus Honorii: A Critical Edition of the Latin Version
of the Sworn Book ofHonorius (Studia Latina Stockholmiensia, 48),
Stockholm: Almqvist & Wiksell, 2002.
Joachim of Fiore. The "Figurae" of Joachim of Fiore edited by Marjorie
Reeves and Beatrice Hirsch-Reich, Oxford: Clarendon, 1972.
John of Morigny, Claire Fänger & Nicholas Watson (Eds.). Liber florum
celestis doctrine / The Flowers of Heavenly Teaching. Pontifical
Institute of Mediaeval Studies, 2015
Jones, C. P. 'An Epigram on Apollonius of Tyana' in The Journal of
Hellenic Studies, Vol. 100, Centenary Issue, 1980, pp. 190-194.
Kassell, Lauren. Medicine and Magic in Elizabethan London - Simon
Forman: Astrologer, Alchemist and Physician. Oxford: OUP, 2005.
Kieckhefer, Richard. 'The Devil's Contemplatives: the Liber Iuratus, the
Visionum and the Christian Appropriation of Jewish
Occultism/ in Fänger, Claire (ed.). Conjuring Spirits: Texts and
Traditions of Medieval Ritual Magic. Gloucestershire: Sutton
Publishing & Pennsylvania: Pennsylvania State UP, 1998.
Kieckhefer, Richard. Forbidden Rites: A Necromancer's Manual of the
Fifteenth Century, Stroud: Sutton, 1997.
Klaassen, Frank. The Transformations of Magic: illicit Learned Magic in the
later Middle Ages and Renaissance, Pennsylvania: Pennsylvania
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Kuntz, Darcy (ed.). Ars Notoria: the Magical Art of Solomon...Englished by

Robert Turner. London, 1656, rpt. Sequim: Holmes, 2006.
Läng, Benedek. Unlocked Books: Manuscripts of Learned Magic in the
Medieval Libraries of Central Europe [Magic in History Series].
Pennsylvania: Pennsylvania State UP, 2008.
Läng, Benedek. 'The Art of memory and magic (the Ars Memorativa and
the Ars Notoria)' in Culture of Memory in East Central Europe in the
Late Middle Ages and the Early Modern Period, ed. Rafał Wójcik, 87-
93. Poznan: Bibioteka Uniwersytecka, 2008.
Murner, Thomas. Logica Memorativa: Chartiludium logice, sive totius dialectice
memoria, Cracow, 1507.
Page, Sophie. 'Image-Magic Texts and a Platonic Cosmology at St.
Augustine's, Canterbury, in the Late Middle Ages' in Magic in
the Classical Tradition, Ed. Charles Burnett and W.F. Ryan,
London: Warburg, 2006, pp. 69-98.
Page, Sophie. Magic in the Cloister: Pious Motives, Illicit Interests, and
Occult Approaches to the Medieval Universe, Pennsylvania:
Pennsylvania State UP, 2013.
Page, Sophie. Magic in Medieval Manuscripts, London, 2004.
Peterson, Joseph (Ed.). The Sworn Book of Honorius: Liber luratus Honorii
by Honorius of Thebes, Lake Worth: Ibis, 2016.
Skinner, Stephen. Techniques of Graeco-Egyptian Magic. Singapore: Golden
Hoard, 2014.
Skinner, Stephen. Complete Magician's Tables. Singapore: Golden Hoard,
2006; Fifth expanded edition, Golden Hoard, 2015.
Skinner, Stephen. Techniques of Solomonic Magic. Singapore: Golden Hoard,
2015.
Skinner, Stephen and David Rankine. The Goetia of Dr Rudd, Vol. 3,
SWCA4. London: Golden Hoard, 2007.
Skinner, Stephen and David Rankine. The Veritable Key of Solomon, Vol. 4,
SPVCM. Singapore: Golden Hoard, 2008.
Thorndike, Lynn. 'Traditional Medieval Tracts concerning engraved
Astrological images/ in Melanges Auguste Pelzer. Louvain:
Uni versite de Louvain, 1947, pp. 217-274.
Thorndike, Lynn. A History of Magic and Experimental Science, Volumes I-

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Turner, Robert (trans.). Ars Notoria: the Notory Art of Solomon, London:
Cottrel, 1657.
Turner, Robert. Elizabethan Magic: the Art and the Magus, Shaftesbury:
Element, 1989.
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(Micrologus' library; 46).
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217.
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431
Index
Agrippa, Henry Cornelius, 31,
32, 33, 37, 38, 339, 340,
415, 427, 428
Albermarle, Duke of, 65
Albert V Duke of Bavaria, 46
Albertus Magnus, 22
Apollonius, 14, 21, 25, 37,
39, 40, 41, 42, 43, 53, 74,
75, 76, 79, 84, 171, 173,
175, 177, 202, 341-344,
359
Aquinas, Thomas, 22
Arithmetic, 13, 73, 87, 88,
94, 95, 96, 98, 103, 107,
113, 126, 172, 206, 388,
392
Arithmetic, 1 - First nota, 155,
249, 256, 296, 320
Arithmetic, 2 - Second nota,
155, 296, 320
Arithmetic, 3 - Third nota, 270,
296
Arithmetic, Semi-Nota, 249,
271, 320
Ars Nova, 33, 74, 119, 186,
215
Artem Novam, 16, 17, 215
Ashmole MS 1515, 33
Ashmole, Elias, 23, 50
Astral magic, 16, 23
Astronomy, 13, 22, 88, 95,
96, 98, 107, 112, 113, 124,
126, 171, 174, 175, 177,
194, 207, 208, 218, 388,
389
Astronomy, 1 - First nota, 297,
319
Astronomy, 2 - Second nota,
297, 319
432
Astronomy, 3 - Third nota, 292,
322
Astronomy, 4 - Fourth nota,
292, 322
Astronomy, 5 - Fifth nota, 292,
322
Astronomy, 6 - Sixth nota, 292,
322
Astronomy, Nota Circulus, 257
Astronomy, Nota of the
Heavenly Stars, 278
Bacon, Roger, 23
Bayerische Staatsbibliothek, 48,
71, 79
Beinecke Library, 71, 74
Bibliotheque nationale de
France, 4, 34, 71, 72, 76,
80, 92
BL Or. 14759, 72
BL Sloane MS 1712, 64, 69, 71,
77, 78, 87, 240
BnF Lat. 7152, 71, 72, 76, 92
BnF Lat. 7153, 72
BnF Lat. 7154, 72
BnF Lat. 9336, 73 , 284-305
Bodleian Library, 50, 52, 53,
72, 82, 83, 427
Bodley951, 23, 33, 72, 109
Bologna, 26, 420
Boncompagno da Signa, 26
British Library, 60, 69, 71, 72
British Museum, 69
Carr, Robert, 1st Earl of
Somerset, 55, 56
Casaubon, Meric, 37
Chastity nota, 88, 97, 101,
115, 304, 328, 391
 Ars Notoria
Clavicula Salomonis (see Key
of Solomon), 26, 427
CLM276, 45, 46, 47, 71, 79,
91, 92, 111, 259-282
Constantinople, 16, 20, 21,
26, 40
Cracow University, 25
Cyromancy, 13
De Occulta Philosophia, 32
Demons, 16, 17, 36, 42
Devereux, Robert, 3rd Earl of
Essex, 55, 57
Dialectic, 13, 87, 88, 94, 95,
96, 98, 102, 107, 111, 126,
195, 202, 387
Dialectic, 1 - First nota, 150,
244, 256, 263, 287, 311
Dialectic, 2 - Second nota, 151,
245, 264, 288, 312
Dupebe, Jean, 21
Euclid of Megara, 44, 171
Euclid of Thebes, 21, 44, 76,
78, 171, 207, 341, 359
Euclidii, see Euclid of Thebes,
76
Euclidis, see Euclid of Thebes,
44, 78, 207, 359
Euduchaeus, see Euclid of
Thebes, 44, 171
Euduchij, see Euclid of Thebes,
341
Exceptive Arts, 126, 177, 194
Exceptives, 87, 88, 95, 101,
105, 391
Exceptives, nota, 159, 251, 278
Fanger, Claire, 28, 73, 118,
428, 429, 431
Figure of Memory, 33, 36, 37,
38, 233, 234
Flores Aurei, 25, 28, 39, 74,
75, 172
433
Forman, Simon, 23, 49-58,
72, 82-84, 427, 429
Fourth Book of Occult Philosophy,
31, 32, 33
Galen, 79
General, 1 - First nota, 158,
251, 276, 277, 293, 321,
326
General, 2 - Second nota, 158,
251, 277, 293, 321, 325
General, 3 - Third nota, 158,
251, 277, 293, 321
General, 4 - Fourth nota, 158,
251, 277, 302, 324
General, 5 - Fifth nota, 159, 251
General, all notae, 276
Geomancy, 13, 31, 79, 124
Geometry, 13, 73, 87, 88, 94-
96, 99, 103, 107, 126, 172,
206, 207, 390, 391, 393
Geometry, 1 - First nota, 154,
248, 269, 299, 332
Geometry, 2 - Second nota, 257,
300, 333
Goetia, 430
Golden Flowers, 25, 37, 171
Gothurst, 59, 60, 82
Grammar, 13, 33, 45, 73, 87,
88, 94, 95, 99, 102, 107,
109, 111, 123, 126, 172,
195-199, 201, 202, 207,
387
Grammar, 1 - First nota, 147,
241, 260, 284, 309
Grammar, 2 - Second nota, 148,
242, 261, 285, 308
Grammar, 3 - Third nota, 149,
243, 262, 286, 310
Grammar, Nota of all, 255
Hedegard, Gósta, 22
Helisol, 17
Hockley, Frederick, 22, 427
 Ars Notoria
Holshott, 415
Honorius, 21, 44, 430
Howard, Lady Frances, 55, 56
Hydromancy, 13
Hygromanteia, 16
James I, King, 57, 58, 233
John of Morigny, 18, 27-29,
71, 78, 79, 117, 429, 431
Justice, Peace & Awe, nota, 87,
88, 159, 252, 305, 327
Kabbalah, 18
Kassell, Lauren, 23, 82, 83,
429
Key of Solomon, 16, 26, 31,
427, 430
Kieckhefer, Richard, 13, 18,
429
Klaassen, Frank, 33, 72, 426,
429
Klosterneuburg, 90
Krakow, see also Cracow, 25
Läng, Benedek, 25, 31, 430
Lemegeton, 16-19, 35, 178,
215, 345, 427
Liber de Arte Memoratiua sine
Notoria, 54, 60, 81, 82
Liber Florum, 28
Liber Juratus, 21, 22, 29, 30,
44, 171, 405, 406, 429,
430
Liber Sacratus, 29
Liber Visionum, 27-30, 71, 431
Liberal Arts, 194, 195, 197,
199, 200, 210, 213, 216
Lilly, William, 23
Magical Treatise of Solomon, 16,
26
Manichaei/ Manichaeus, 44,
171, 341
Mechanical Arts, 126, 194
434
Medicine, 13, 67, 82, 87, 88,
105, 126, 168, 208, 223,
429
Medicine, 1 - First nota, 279,
291, 318
Medusa, 20, 21
Monson, Sir Thomas, 58
Music, 13, 87, 88, 95, 96, 99,
105, 111, 126, 388, 393
Music nota, 159, 251, 278,
291, 317
Napier, Richard, 50
National Library of Israel, 53,
60, 81, 82, 307
Nicolaus Cusanus, 79
Nigromancie, 13
NLI, see National Library of
Israel, 81, 82
Notary Art, 17, 22, 24, 170,
172, 174, 175, 177, 178,
182, 185, 227, 427, 431
Novem termini, 74
Onomancy, 79
Opera Omnia, 31, 32, 33, 34,
427, 428
Opus Operum, 12, 34, 35, 46,
77-79, 91, 125, 255-257,
259, 357, 425
Overbury, Sir Thomas, 56, 57
Page, Sophie, 27
Pamphilius, angel, 25
Paracelsus, Aureolus
Theophrastus, 415, 416
Peter de Abano, 22
Philosophy, 21, 31, 33, 87,
88, 92, 94-97, 99, 100,
103, 104, 108, 113-115,
122, 126, 175, 194, 207-
211, 239, 389, 390, 393
Philosophy, 1 - First nota, 155,
249, 272, 302, 323
 Ars Notoria
Philosophy, 2 - Second nota,
156, 249, 273, 303
Philosophy, 3 - Third nota, 156,
250, 273, 303
Philosophy, 4 - Fourth nota,
156, 250, 273, 298, 331
Philosophy, 5 - Fifth nota, 157,
250, 274, 298, 331
Philosophy, 6 - Sixth nota, 157,
250, 275, 298, 331
Philosophy, 7 - Seventh nota,
158, 250, 276, 299, 332
Philostratus, 39, 42
Physic, 1 - First nota, 159, 251,
291, 318
Prince of the Torah, 18
Pyromancy, 13
Quadrivium, 13, 44, 122
Rhetoric, 13, 87, 88, 91, 94-
96, 100, 102, 103, 107,
111, 113, 126, 172, 195,
197, 199, 203-205, 207,
387, 388, 392
Rhetoric, 1 - First nota, 152,
246, 265, 289, 314
Rhetoric, 2 - Second nota, 153,
247, 266, 267, 294, 313
Rhetoric, 2 - Second nota (part
2), 267
Rhetoric, 3 - Third nota, 256,
295, 316
Rhetoric, 4 - Fourth nota, 154,
248, 268, 290, 315
Rolandino da Passagerii, 26
Royal College of Surgeons, 51
Rudd, Dr Thomas, 24, 25, 430
Ryddonte, William, 49
Salomoni, see Solomon, 84,
340, 344, 351, 352, 356,
357, 362, 371, 377-379,
382
435
Salomonis, see Solomon, 76,
78, 207, 341-343, 356,
357, 359, 360, 368, 370,
373
Sar-Torah, 18
Schedel, Hartmann, 45, 46, 79
Scot, Michael, 22
Self-mastery & silence nota, 87,
88, 159, 251, 278, 305,
329
Sepher Ha-Mazloth, 18
Sepher Maphteah Shelomoh, 19
Setne-Khamwas, 119
Sloane 1712, 92, 111, 240-258
Sloane, Sir Hans, 64, 65, 67,
68, 69, 77
Solomon, 14, 16-18, 22, 24,
25, 78, 117, 170, 171,
173-178, 182-185, 188-
190, 192-198, 200, 202,
204, 206-208, 210, 212,
214-216, 218, 224-226,
230, 427, 429, 430, 431
Solomonic magic, 16, 19, 23
Sourceworks of Ceremonial
Magic, 2, 39
St Anthony of Padua, 22
Summa Theologica, 22
Swartz, Michael, 18
Sworn Book ofHonorius, see also
Liber Juratus, 22, 29, 430
Talismans, 16, 19, 40, 42
Theology, 13, 22, 33, 87-89,
92, 95-97, 100, 101, 106,
114, 115, 124, 126, 172,
200, 207, 208, 210-214,
216, 217, 390, 392
Theology, 1 - First nota, 95,101,
106,159, 252, 275, 279, 300,
334
Theology, 2 - Second nota, 160,
253, 280, 301, 337
 Ars Notoria
Theology, 3 - Third nota, 160,
253, 280, 301, 337
Theology, 4 - Fourth nota, 160,
253, 280, 301, 335
Theology, 5 - Fifth nota, 161,
254, 281, 304, 336
Theology, 6 - Sixth nota, 160
Thorndike, Lynn, 23, 430
Torino Bibliotheca Nazionale,
73
Tractatus Artis Notoriae, 37, 38
Trinity College, Cambridge, 29,
53, 54, 82-84, 170, 180,
228, 427
Trithemius, Abbot, 23, 53
Trivium, 13, 44, 122
Turner, Robert, 5, 14, 15, 17,
24, 32-38, 57, 58, 61, 63,
166, 167, 169, 171, 172,
188, 191, 193, 203, 205,
219, 227, 229, 230, 234,
415, 416, 418, 427, 430,
431
436
Tyana, 14, 21, 25, 39, 43
University of Bologna, 26
Veronese, Julien, 26, 30, 33,
34, 35, 71, 72, 77, 80, 93,
118, 171, 191, 219, 340,
354, 373, 405, 420, 427,
431
Virgin Mary, 27, 28, 29
Wernshover, Chonradus, 79
William of Auvergne, 22, 29
Wonders & Marvels nota, 87,
88, 95, 159, 252, 278
Wrighte, George, 59, 60, 82
Yah. Var. 34, 49 , 53 , 59 , 60,
72, 81-83, 307-338, 427
Yahuda, Professor Abraham
Shalom, 82
Yale Mellon 1, 20, 22, 26, 71,
74, 77, 87, 89, 111, 127-
164, 175
Dr. Stephen Skinner began his career as a
geography lecturer at what is now the
University of Technology in Sydney. He
wrote, with Francis King, the classic Techniques
of High Magic in 1976, and later The Oracle of
Geomancy and Geomancy in Theory and Practice,
which is now the standard work on Western
divinatory geomancy. He edited Aleister
Crowley's Magical Diaries and Astrology.
Highly illustrated books on Nostradamus and
Millennium Prophecies followed from his
prolific pen. Stephen stimulated interest in Dr.
John Dee and Enochian magic by first
re-publishing Meric Casaubon's True and
Faithful Relation... in 1973 and subsequently
publishing a fully corrected edition as Dr John
Dee's Spiritual Diaries in 2011. He also
produced two substantial reference books: The
Complete Magician's Tables and Guide to the
Feng Shui Compass. More recently he wrote
Techniques of Graeco-Egyptian Magic and
Techniques of Solomonic Magic. He is also the
author of more than a dozen books on feng
shui, including the first one in English in the
20th century. In all he has written more than
46 books, translated into more than twenty
different languages.

Daniel Clark was bom in Hobart Tasmania.

From an early age he developed a strong
passion for Japanese culture, pop culture and
traditional history, and has been a student of
Japanese Sword arts for the past 17 years
which has included Kendo, laido and various
styles of Kenjutsu. He developed a serious
interest in Magic from a very early age with a
particular focus on the Grimoires. His interests
range from Solomonic and Faustian traditions
and Demonology, to the more obscure esoteric
areas of Japanese Onmyddd and Yokai
Mythology. Over the past few years Daniel
has been striving to help important and often
forgotten manuscripts of magic get digitized,
and has tracked down and located many
variant Grimoires residing in universities and
libraries around the world, many of which are
still waiting to be re-discovered.
 Sourceworks of Ceremonial Magic
Volume 1 - Practical Angel Magic of Dr Dee’s Enochian Tables by Stephen Skinner & David Rankine.
Dr Dee’s last book of angelic invocations, kept in Latin, developed by a 17th century magician into a fully
working magical system. ISBN 978-0-9547639-0-9 £35.00 / US$65.00
Volume 2 - Keys to the Gateway of Magic: Summoning Archangels & Demon Princes by Stephen Skinner &
David Rankine. Dr Thomas Rudd’s Nine Great Keys, a rare early 17th century grimoire detailing the
invocation of the Archangels and Demon Princes. ISBN 978-0-9547639-1-6 £35.00 / US$65.00
Volume 3 - The Goetia of Dr Rudd by Stephen Skinner & David Rankine. The Lemegeton including
Liber Malorum Spirituum seu Goetia, Ars Almadel, Theurgia-Goetia and^rs Paulina. ISBN
978-0-9547639-2-3 £46.00 / US$72.00
Volume 4 - The Veritable Key of Solomon by Stephen Skinner & David Rankine. The most famous and
significant of all Grimoires, including three complete manuscripts translated from the French. ISBN
978-0-9557387-6-0 £40.00 / US$65.00.
Volume 5 - The Grimoire of St. Cyprian - Clavis Infemi by Stephen Skinner & David Rankine. A very
rare grimoire allegedly by St. Cyprian, but ireally a Solomonic grimoire. 7 colour plates. Different from the
Spanish or Scandinavian St. Cyprian grimoires. ISBN 978-0-9557387-1-5 £40.00 / US$65.00.
Volume 6 - Sepher Raziel: Liber Salomonis - edited by Don Karr & Stephen Skinner. Full 1564 grimoire
with original text and commentary. Not the same as Sepher Raziel ha-Melach. Seven treatises in one. ISBN
978-0-9557387-3-9 £40.00/US$65.00. Paperback 978-19122120-2-6
Volume 7 - Book of the Moon: Liber Lunas - edited by Don Karr, translated by Calnit Nachshon. A 16th
century manuscript on the Hours of the Day, the 28 Mansions of the Moon. ISBN 978-0-9568285-2-1
£39.95 I US$65.00. Paperback 978-1-9122120-1-9
Volume 8 - The Magical Treatise of Solomon, or Hygromanteia - edited by loannis Marathakis. The Greek
original of the Key of Solomon for the first time in English. ISBN 978-0-9932042-8-9 £39.95 / US$65.00
Volume 9 - The Cunning Man’s Grimoire - edited by Stephen Skinner & David Rankine. An English
grimoire used by three Cunning men, and including Astrological magic, image magic, simple spells and
Solomonic procedures. ISBN 978-0-9932042-8-9 £40.001 US$65.00
Volume 10 - Sibley’s Clavis to the Mysteries of Magic - edited by Stephen Skinner & Daniel Clark. The
most brilliantly coloured grimoire ever to have been penned with full colour pentacles for the planets. 10
complete parts. With text by Frederick Hockley. 514 pages. ISBN 978-0-9932042-8-9 £64.00 / US$95.00.
Volume 11 - The Ars Notoria - edited by Stephen Skinner & Daniel Clark. The grimoire of rapid learning
by magic. ISBN 978-1-91221203-3 £64.00 / US$96.00.
Techniques of Graeco-Egyptian Magic - Dr Stephen Skinner. ISBN 978-1912212-08-8 £39.95 / US$65.00.
388 pages, 42 illustrations, 60+ Tables. The key to understanding and using the magic in the Greek papyri.
Techniques of Solomonic Magic - Dr Stephen Skinner. ISBN 978-98109431-0-3 £46.00 / US$72.00. 378
pages, 30 Tables, 20 colour plates, 48 illustrations. The key to understanding and using the grimoires.
Dr John Dee's Spiritual Diaries (1583-1608) being a reset and corrected edition of/4 True & Faithful
Relation... with a translation of all Latin pssages. Preface by Meric Casaubon, Edited by Dr Stephen
Skinner. 844 pages, 32 illustrations. ISBN 978-1912212-13-2 £76.00 / US$96.00.
The Complete Magician's Tables - 5th Edition - Stephen Skinner. The most complete set of magic,
astrology, alchemy, tarot, kabbalah, gematria, grimoires, gods, angels, demons, & incense correspondences
ever published. 840+ Tables, 496 pages, 19 illustrations. ISBN 978-0-9547639-7-8 £30.00
Guide to the Feng Shui Compass: Classical Feng Shui - Stephen Skinner.
ISBN 978-0-9547639-9-2. £39.95 /US$65.00. $96.00 US
ISBN 978-0-7387-6452-8

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